#i have so much more to say i could write a novel

[applestorms]

@jessaerys ok shit this took a while but WHATEVER. wammy's lore collection here we go :3c less analysis this time, this is mostly just to archive the main known details we have in canon about the house, and also the people from there more generally. however much you wanna accept all this/take it at face value is up to You, Dear Reader (and tbh y'all should just read all these if ur curious since they're all pretty short + have Interesting narrators. i'll include links to free versions). do whatever you want forever etc. etc. also, SPOILERS. obviously.

LABB: (listen here)

no this book isn't written by ohba. yes i'm including it. shush. anyways, most of the lore in this comes from mello's vague comments about beyond's backstory, but there's a Lot of interesting things established in this, so. here's a bunch of notable quotes. if you're not already familiar, please keep in mind that the narrator of this novel is mello, writing at some point shortly before his death.

"L. The century's greatest detective. In light of his staggering mental abilities, L died an unjust and untimely death. In the public record alone he solved over 3,500 difficult crimes, and sent three times that number of degenerates to prison. He wielded incredible power, was able to mobilize every investigative bureau in the entire world, and was applauded generously for his efforts. And during it all, he never showed his face." (pg. 10)

"So, what you're reading now are my notes about L. It's a dying message, not from me, and not directed at the world. The person who will most likely read this first will probably be that big-headed twit Near. But if that's the case, I will not tell him to shred or burn these pages. If it causes him pain to discover that I knew things about L that he did not, then that's fine." (pg. 10-11)

"I am one of the few people who ever met L as L. When and how I met him...this is the single most valuable memory I have, and I will not write it here, but on that occasion L related to me three stories of his exploits, and the episode involving Beyond Birthday was one of these." (pg. 11)

"Obviously, it never came to light that L--and more importantly, Wammy's House, which raised me until I was fifteen--was deeply connected to the matter, but in fact, they were. L, on principle, never got involved in a case unless there were more than ten victims or a million dollars at stake, and this is the real reason why he belatedly, but aggressively, involved himself in this little case, which only ever had three or four victims. I will explain further in the pages that follow, but for this reason, the case of the Los Angeles BB murders is a watershed event for L, for me, and even for Kira. It was a monumental event for all of us. Why? Because this is the case where L first introduced himself as Ryuzaki." (pg. 11)

"For any one else but those two [Near and Kira], my identity may be of no interest, but I am the old world's runner-up, the best dresser that died like a dog, Mihael Keehl. I once called myself Mello and was addressed by that name, but that was a long time ago. Good memories and nightmares." (pg. 12)

"She [Naomi Misora] briefly considered the idea that Raye Penber, or someone else, was playing a practical joke on her, but she found it hard to believe that anyone would be so bold to sign their name as such. L never revealed himself in public or in private, but Misora had heard several horror stories about what happened to detectives who tried passing themselves off as L. It was safe to say that no one would dare use his name, even in jest." (pg. 18)

"This was L, so he was undoubtedly solving several other difficult cases all at once. Cases all over the world. For him, this case was just one of many parallel investigations. How else could he maintain his reputation as the world's greatest detective? The century's greatest detective, L. The detective with no clients." (pg. 35)

"L had earned a certain degree of hostility from other detectives, and the jealous ones called him a hermit detective, or a computer detective, but neither of these is a particularly accurate representation of the truth. Naomi Misora had also tended to think of L as an armchair detective, but in fact, L was quite the opposite, a very active, aggressive individual. [swoon.] While he had absolutely no interest in social connections, he was certainly not the kind of detective to shut himself up in a dark room with the shades drawn and refuse to come out. It is now common knowledge that the three great post war detectives, L, Eraldo Coil and Danuve were all actually the same person. Certainly, anyone reading these notes is almost certain to know...though they may not know that L engaged in a war with the real Eraldo Coil, and the real Danuve, and emerged victorious, claiming their detective codes. The details of this detective war I will save for another occasion, but in addition to those three names, L possessed many other detective codes. I have no idea how many, but there were at least three digits' worth. And quite a number of those were fairly public detectives--just like, as anyone reading these notes must know, he appeared before Kira, calling himself Ryuzaki or Ryuga Hideki. Of course, Naomi Misora had no way of knowing this, but in my opinion, the name L was, for him, just one of many. He never had any direct connection to that identity, he never thought of himself as L--it was just the most famous and most powerful of the many detective codes he used during his life. The name had its uses, but lacked obscurity. L had a real name that nobody knew, and nobody will ever know, but a name which only he knew never defined him. I sometimes wonder if L himself ever knew exactly which name was written in the Death Note, which name it was that killed him. I wonder." (pg. 43-44)

"If we must discuss why L so adamantly refused to reveal himself, we can explain it very simply: doing so was dangerous. Very dangerous. While the world leaders should make efforts to ensure the safety of all the finest minds, not only for detectives, the fact is that the current societal systems do not allow for this, and L believed he had no choice but to protect his mind under his own power. By simple arithmetic, L's ability in 2002 was the equivalent of five ordinary investigative bureaus, and seven intelligence agencies (and by the time he faced off against Kira, those numbers had leapt upward several more notches). This is easy to think of as a reason to respect and admire someone, but let me say this as clearly as possible: that much ability in one human is extremely dangerous. Modern danger management techniques rely heavily on defusing risk, but his very existence was the exact opposite. In other words, if someone was planning to commit a crime, they would greatly increase their chances of getting away with it by simply killing L before they began. That was why L hid his identity. Not because he was shy, or because he never left the house. To ensure his own safety. For a detective of L's ability, self-preservation and the preservation of world peace were one and the same, and it would not be correct to describe his actions as cowardly or self-centered." (pg. 69 nice)

"So whenever L was working, he would usually have someone else as his public face--and in this particular case, the FBI agent Naomi Misora was filling that role." (pg. 70)

"Beyond Birthday had the eyes of a shinigami congenitally. It was not particularly difficult for him to track down people with the initials B.B. or find people who were fated to die on a certain day at a certain time." (pg. 94)

"Normally contact with a shinigami was a prerequisite for acquisition, but Beyond Birthday had traded nothing--he had seen through those eyes since before he could remember. He knew your name before you said it. He knew the time of death of every person he met." (pg. 94)

"You might think [the eyes] would hardly be useful without a Death Note, but that is simply not the case. The ability to see someone's remaining life is the ability to see death. Death, death, death. Beyond Birthday lived his life unceasingly reminded that all humans would eventually die. From the time he was born he knew the day his father would be attacked by a thug and die, knew the day his mother would die in a train crash. He had these eyes before he was born, which is why he called himself Beyond Birthday. Which is why a child as strange as he was taken in by our home, sweet home--Wammy's House. He was B. The second child in Wammy's House." (pg. 94-95)

"The competition between L and B. L and B's puzzle. 'If L's a genius, then B's an extreme genius. If L's a freak, then B's an extreme freak. Now it's time to get ready. There are things I must do before B can surpass L. Henh henh henh henh.' This thought was the only thing that made him laugh without needing to think about it. And those that know will recognize the laugh of the shinigami. Still grinning to himself, he faced the mirror, brushed his hair, and began applying his makeup. The reflection of himself in the mirror. Himself. As always, he could not see his own time of death. No more than he could see the death of the world." (pg. 96)

"We were raised at Wammy's House in England, in Winchester, as L's successors, as L's alternatives, but that does not mean we knew anything more about L than anyone else. Including myself, only a few of us ever met L as L, and even I knew nothing about L before he met Watari--Quillish Wammy, the genius inventor who founded Wammy's House. Nobody knows what's going on in L's head. But even so, I know how Watari felt. Looking at L's incredible talents from the perspective of an inventor--of course he wanted to make a copy, of course he wanted to create a backup. Anyone would feel the same. As I have already explained, L never appeared in public. L knew that his own death would increase the crime rate all over the world by a few dozen percentage points. But what if they could copy him? What if they could make a backup? That was us. L's children, gathered from all corners of the world.

"But even for a genius like Watari, creating a fake L was easier said than done. Even for Near and I, who were said to be the closest to L...the more we tried to be like him, the closer we got, the father away he was, like chasing a mirage. So I hardly need to tell you what it was like when Wammy's House was first founded, when he was still experimenting. The first child, A, was unable to handle the pressure of living up to L and took his own life, and the second child, Beyond Birthday, was brilliant and deviant. B stood for Backup.

"But B tried to surpass L, not become him...no, that might not be right. I have no way of knowing the inner workings of his mind. He...their generation was not like the fourth generation, with Near and I, all the children bound only to the code with the serial L. They were prototypes, never even given the L code, expected to fail. I prefer to refrain from idle speculation based on my own experiences, but, well, Beyond Birthday may have thought something like this: As long as there was L, B would never be L. As long as the original existed, the copy was always a copy." (pg. 104-105)

"The Los Angeles BB Murder Cases. L.A.B.B.--L is After Beyond Birthday. This reading is why I think this name is so much closer to the killer's intentions than the Wara Ningyo Murders, or the Los Angeles Serial Locked Room Killings. I wasn't talking about the names on a purely stylistic basis. Whether Beyond Birthday had put that much thought into it I have no idea, but if he had a specific reason for choosing to commit his murders in L.A., then that is probably why. I am sure he had a much more personal obsession with L as an individual than Near or I ever did. I can understand why someone would become a criminal in order to fight against a detective, which is why I can write something like this, but even so. What did he hope to accomplish by killing unrelated people? Or perhaps B simply wanted to meet L. Then he could use the eyes of the shinigami he'd been born with and see L's real name, see when L would die. He would be able to figure out who L was. Beyond Birthday had never told anyone that he had the eyes of a shinigami, and it would not surprise me at all if he believed himself to be some kind of shinigami." (pg. 105-106)

"Beyond Birthday challenged L. And L accepted the challenge. To put it bluntly, the Los Angeles BB Murder Cases were nothing but an internal struggle, a civil war within our home, sweet home-- Wammy's House. Unfortunate for the victims that got mixed up in it, but even if Beyond Birthday had not killed them, all those victims were fated to die that day, at that time, for some other reason, so logically and morally, their deaths were unavoidable. So in the strictest sense of the word, the only one who really got mixed up in their war was Naomi Misora." (pg. 106)

"L was said to never move on a case unless there were more than ten victims or a million dollars at stake. The only exceptions to this were cases at difficulty level L (extremely fitting), or when L had personal reasons compelling him to get involved. The Los Angeles BB Murders were both of these. I hardly need to point out the difficulty by this stage of the story, and L was essentially fighting his own dead copy. [harsh, dude.] The current head of Wammy's House had told Quillish Wammy/Watari, who had told L about B's disappearance in May, and ever since L had been looking for him even as he solved other cases. Wammy's House only knew him as B--they did not know his real name, Beyond Birthday, so this search was near impossible, but L knew who the killer was. He had not been looking for a killer so much as he was looking for a case. L had been waiting, expecting Beyond Birthday to do something to challenge him. L could move any policeman in the world, but in this case, he could not ask anyone for help except Naomi Misora...more than likely, for this reason. I don't think L really put that much stock in honor, but everyone is embarrassed by their own sins, and nobody wants those missteps to become public knowledge. L was the goal of everyone in Wammy's House. Every one of us wanted to surpass him. To step over him. To step on him. M did, N did, and B did. M as a challenger, N as a successor. B as a criminal." (pg. 116-117)

"No matter what she did, she had no way of knowing. That this killer, Beyond Birthday, could tell someone's name and time of death just by looking at their face, that he had been born with the eyes of a shinigami--she had no way of knowing that fake names were useless with him, completely and utterly pointless. How could she have known? Even Beyond Birthday himself could not explain how he had been born with the eyes of the shinigami, how he could use them with no payment, with no arrangement. Neither Misora nor L knew why, and, obviously, neither do I. The closest thing to an explanation I can offer is that there are shinigami stupid enough to drop their notebooks in our world, so there might well be shinigami stupid enough to drop their eyes." (pg. 193-140)

"'So, Naomi Misora...' said L, wrapping up. But Misora hastily stammered, 'Um, er, L...' but then she hesitated, not sure if she should ask this or not. 'You...know the killer, right?' 'Yes, as I said. He is B.' 'I don't mean like that...I mean, he's someone you know personally?' On the 16th, L had said that he had known the killer was B, and she had sort of known ever since, but two days before, L had said something that changed her guess to conviction. Whatever you do, please catch the killer. The century's greatest detective, L, would never say that about some ordinary indiscriminate serial killer. And the way his letter was just one letter long... 'Yes,' the synthetic voice agreed." (pg. 144-145)

"'I have nothing to do with him,' L said. 'To be completely accurate, I do not even know B. He is simply someone I am aware of. But none of this affects my judgement. Certainly, I was interested in this case, and began to investigate it because I knew who the killer was. But that did not alter the way I investigated it, or the manner in which my investigation proceeded. Naomi Misora, I cannot overlook evil. I cannot forgive it. It does not matter if I know the person who commits evil or not. I am only interested in justice.'" (pg. 145)

"My great and respected predecessor, the man whose actions were a strong influence on me personally, B, B.B., Beyond Birthday--obviously, I need hardly explain again that the murders themselves were not his purpose. So what was he doing? Again, I hardly need to explain--he was challenging the man he copied, the century's greatest detective L. A matter of winning or losing. A contest." (pg. 159)

"Since L could solve every case no matter how challenging, if he created a case so difficult that L as unable to solve it, B would have defeated L." (pg. 159)

"He knew that the moment he took action Wammy's House and Watari would alert L, so he did not even bother trying to stop them. He could only guess at which stage of his plan L would start to come after him, so he prepared things carefully, ready for L's entrance at any point." (pg. 159)

"B approached Naomi Misora, calling himself Rue Ryuzaki. Rue Ryuzaki--L.L. For anyone from Wammy's House, there could be no higher goal than identifying yourself with that letter--and Beyond Birthday seized this case as his chance. even Naomi Misora knew what had happened to detectives falsely identifying themselves as L, and B was from Wammy's House, so he knew this better than anyone--so this choice suggests the strength of his decision. He never once intended to survive--had had made up his mind. He was ready." (pg. 160) [trans. note: the name "Rue" in Japanese, ルエ (ru-e), is an anagram of エル (e-ru), which is how L is pronounced.]

"Naturally, his face and fingerprints would burn as well--he had always disguised himself with heavy makeup while he was with Misora, and he never left a picture behind, so even if someone directly affiliated with Wammy's House inspected the body, they would have no idea that Rue Ryuzaki/Beyond Birthday was B from Wammy's House. He had left nothing to connect Beyond Birthday to B." (pg. 162)

"B was presenting the Los Angeles BB Murder Cases to L as a case that could never be solved. That L could never solve. In other words, he had never prepared any clear solution to it--since the killer had committed suicide, disguised as the fourth victim, there was no longer a killer to catch, and no clues left to catch him with." (pg. 163)

"My poor, poor predecessor. Not only was he utterly and completely defeated, but he survived, driving home his embarrassment...he must have longed for death. Accept my condolences, B." (pg. 169-170)

"If I had space left over I had intended to carry right on into the other two stories I heard from L: the story of the detective war between the three greatest detectives, all solving that infamous bio-terror case, with guest appearances by the last of the alphabet, the first X to the first Z from Wammy's House; and the story of how the world's greatest inventor, Quillish Wammy, aka Watari, had first met L, then about eight year's old--the case that gave birth to the century's greatest detective, the Winchester Mad Bombings that occurred just after the third World War. But however objectively I look at things, I do not have the space or the time. Oh well." (pg. 170)

"She had spoken to L only once after the killer was arrested. He thanked her for helping to solve the case, and told her just a little about the background of the case. That B had been a candidate to succeed L, and that the pressure of that had driven him off track." (pg. 171)

"And a few years after his arrest, on January 21st, 2004, serving a life sentence in a California prison, Beyond Birthday died of a mysterious heart attack." (pg. 173)

C-KIRA: (read here)

near grief :pensive: pretty sure this was animated in the anime movie thing?? tbh i still need to watch that. Very interesting as some of the most recent post-main story lore we get about wammy's imo. less quotes now + more summarizing since these are just comics

near has apparently only "talked" to L once (in quotes since he didn't actually say anything, just sat in the back of the room doing a puzzle the entire time. real asf girl)

during this "conversation," roger or one of the orphanage heads set up the usual L screen + a camera/mic so that L could see all the kids and answer their questions.

notably, mello & near didn't ask any questions, just lurked in the back watching L with a "nasty look in [their] eyes," which near assumes is what made him pick them to be his top successors, considering the fact that he didn't actually look at any of their data. (somewhat seems to imply that L didn't actually give a shit about grades or anything like that when picking his main successors?)

while answering questions, near is caught off guard by one of L's answers. to transcribe it all directly here--

NEAR (NARRATING): At the time, I didn't think L would put it so bluntly. L: It's not a sense of justice. L: Figuring out difficult cases is my hobby. If you measured good and evil deeds by current laws, I would be responsible for many crimes. L: The same way you all like to solve mysteries and riddles, or clear video games more quickly... For me too, its simply prolonging something I enjoy doing. L: That's why I only take on cases that pique my interest. It's not justice at all. And if it means being able to clear a case, I don't play fair, I'm a dishonest, cheating human being, who hates losing...

not quite the monster speech, but fascinating all the same. near seems to imply that this answer sent some kids into a despair spiral, but it actually caused him to like L more and more, feeling that he was, "exactly the kind of person who wanted to achieve his own goals." kinda goes against the HTR13 ohba comment? shrug

The Wammy's House/L's One Day: (read here)

honestly i interpret these comics as like. canon crack fic. but anyways, here's the established L lore included in these two.

L was taken into wammy's as a nameless orphan at an unknown but likely quite young age

very soon after arriving he beats up all the other kids he meets--

he is "utterly incompatible," with all the other kids and monopolizes all the things he likes simply cause he's stronger than them and presumably could fight them for it-- naturally, he ends up usually just playing by himself

notably, this all establishes that L isn't the first kid at wammy's, that there was already at least one generation of older kids living there before he got there (and could eventually turn it into an L successor creating machine)

once watari realizes that L has some outstanding mental abilities, he gives him his own private room and a computer. afterwards, L spends most of his time sitting in front of the puter by himself

L requests that watari buy 1 million pounds with Japanese yen and tells him which stocks to buy, causing his assets to reach "almost 20,000 times the original amount," in two years. visually this is depicted as happening when L is still quite young

several years later, L stumbles across a serial murder case in the news, which is the first he solves, starting his new career path

-

L can stay awake for 100+ hours and then gets over it by sleeping for like 17 hours. pictures also may imply that he doesn't actually sleep in a bed, but just lies down sideways in his chair. RIP yotsuba light's perfectly designed sleep schedule

L also shits/pisses in the same position he usually sits in (frog-pose), facing the tank south park style

he is a big fan of cleanliness!! human washing machine etc. etc. honestly i think this is just another way for him to hold that same crouched position

text says he always has, "ten or so identical sets of clothes prepared for him," since he's picky about it, but the art itself shows way more than ten. also rare shirtless L moment?? (watari helps)

L does in fact go outside!! he likes roller coasters/theme parks, swinging, art galleries, live music, etc. though most of the time he just sits in his room thinking thru shit n solving cases.

[monogamia]

im so embarassed of sending asks but I LOVED YOUR LAST POST. Idk what to say, but could you do character analysis? If you only write as x reader it could be relationship hc or analisys of how they act w reader JUST DO YOUR MAGIC 💗💗💗💗

੭⠀ A deeper look into the relationship.

⋆⠀AUTHOR’S NOTES: I’m not sure if this is exactly what you wanted or which character you had in mind, but here it is! If it’s not quite what you had in mind, feel free to send another ask. By the way, to the people who sent requests,thank you! I’ll be posting soon, I just need a little time to write 🫶🏻

⋆⠀FEATURING: Frederick Kreiburg 'Composer'.

⋆⠀WARNING: This post contain spoilers of Ashes of Memory and Frederick’s backstory.

The room was silent. Frederick stood by the window, his silhouette framed by the faint glow of moonlight. He didn’t look at you when he spoke. “I never planned on letting anyone get this close.” His fingers tapped idly against the windowsill, a subtle betrayal of his nerves. “But now… I can’t imagine leaving without you.” He finally turned, his eyes meeting yours. “Tell me you’ll come with me. That this—whatever this is—wasn’t a mistake.”

⋆⠀Frederick grew up carrying more burdens than he could handle. His father’s rejection, combined with his disorder, instilled in him a constant need to distance himself from others to feel “safe.” The disappointment of realizing he didn’t inherit the natural talent that ran in his family’s veins didn’t help either, and his paranoia only worsened over time.

⋆⠀His perception of the people around him is always the same—neutral, if he even cares enough about them to give them any space in his mind. So, when you were introduced, Frederick was polite and brief, treating you just like anyone else who had entered the manor.

⋆⠀His thoughts about you only began to change after you confronted Orpheus for overstepping into matters that were none of his business. At first, Frederick assumed you were just a people pleaser trying to lower his guard. However, later that same day, he overheard you chatting with Alice and Melly once again, telling them about how you were against being so impolite and disrespectful.

⋆⠀The closeness between you two didn’t happen overnight, but small gestures and actions here and there gradually allowed you both to feel at ease in each other’s presence. He listened to you, engaged in normal conversations, and stopped giving short replies just to end the discussion. He even waited for you to arrive at the table before starting to eat. For others, it was surprising to see Frederick interacting without being defensive, though they simply assumed it was a budding friendship.

⋆⠀In the beginning, that’s all it was. Frederick wasn’t exactly thrilled about having someone he could call a friend, but he wasn’t upset about it either. When he realized his feelings were changing, though, he tried to deny them to himself. Yet, seeing how futile that was, he was left with only one option: acceptance.

⋆⠀Being in a relationship with him can be complicated. Even if he trusts you, he’s unlikely to let you know much about his past—unless it directly affects your relationship. The thought of you abandoning him is something he cannot bear, and he is willing to do anything to prevent that, from killing to opening up about some past traumas.

⋆⠀Frederick’s paranoia is no secret. He feels not only jealousy but also a deep-seated anger toward anyone who dares to take your attention away from him. He firmly believes that people have ill intentions when they approach you and wants you to believe that as well. And if you dismiss it? Oh, God, either he’ll manipulate you with tears, or he’ll accuse you of betraying him.

⋆⠀If you ever get upset with him, he’ll send romantic letters, dedicate songs to you, and do things straight out of a romance novel. Part of these actions can be a sincere apology; the rest, although, can also be just an attempt to make you forget whatever mistake he made.

⋆⠀Above all, once you agree to be his partner, Frederick will include you in his plans for life after leaving the manor. Even if he doesn’t fully explain what those plans entail, one thing is certain—leaving you behind is not an option for him.

[benevolenterrancy]

Scholarly peak is catching up on recent literature

[xxplastic-cubexx]

what is your favorite thing about charles and your favorite thing about erik? separately, as in what you like most about their characters :]

a devious question this one is, my friend!!! it's hard enough for me to explain my thoughts cohesively, but having to pick ONE thing i particularly love is difficult. with characters like charles and erik, theres been so much done with their characters over the decades and so they have so many components to them that make them so interesting and fun to observe. BUT I TRY FOR YOU TODAY. under the cut i kinda ramble and the size of this text box makin me anxious

i think if i were to be simple and broad, what i enjoy most about charles is his determination to help others, even if he isn't really thanked and/or if people don't even like him. ofc, this isn't to say he hasn't done wrong- to be honest, the fact he does wrong/questionable things at times is another aspect of him i really enjoy, maybe because- broadly speaking- he's meant to be altruistic (intent vs outcome and all that). i don't know if that's super exciting to most people, but it is for me

as for erik, my reason for liking him is easier to explain tbh. To Be Simple And Broad, his progression from villain to antihero over the decades has been fun to observe (as much as i have so far anyhow) and analyze. i think to be a bit more specific, him using his rage and pain as justifications for his villainous actions is definitely what compels me the most: hurt people hurt and the sort, an idea i've always found interesting (something something vicious cycles and the like). yet now, he recognizes this wasn't really. A Just Thing To Do and is beginning to change that, which i enjoy

[sesamestreep]

it really is SUCH a shame that there’s no episode of TOS where the enterprise crew time jumps to Regency-era England or goes to a planet that modeled its culture on that era or something, because it would truly slap for every single main character. Like I don’t even have to explain why this would be awesome for Spock— Mr. I’ll-smash-a-computer-with-my-bare-hands-before-I’ll-admit-I’m-horny himself, king of repression, who basically recreated the famous Pride and Prejudice Hand Flex Scene™️ with his beloved Captain that one time, who meets a blind woman with a high tech gown that helps her “see” and LITERALLY tells her to give his compliments to her dressmaker, who mislead a woman once about his affections and tenderly promised to safeguard her reputation forever about it, who has the perfect angular features to be set off by a cravat—I mean, you get it, but then you’ve also got Kirk—handsome, affable, brave Naval captain who loves his crew more than himself, who falls in like deep profound love with every woman the plot throws at him—and then McCoy—cantankerous, sure, (ever heard of a grumpy/sunshine trope??) but with impeccable, downright old school manners towards women and, yeah, a doctor’s not that prestigious in Regency times, but for like a young lady in trouble who needs the protection of a man’s name or who just wants to piss off her stuffy aristocrat family by marrying “beneath” them, who could be better? If you throw Scotty in the mix, well, he’s Scottish, which [points at a whole subgenre of regency romance novels] is all he’d really need. I’m just saying they would have CLEANED UP, okay??

[icewindandboringhorror]

Lineup of all of the characters that appear long enough to need a visual representation of them in the game lol

[goldentigerfestival]

Yuri's dialogue (JP) is so fascinating to study, like... the repetitive use of certain words/phrases that others use sparingly but he uses constantly. the way it feels like his vocabulary is more expansive than what he uses, but he defaults to a "comfort" level of speech. the way it mixes in with his sort of "street talk" words and the sheer level of informality. the way his "street talk" phrasing is contrasted by the tone of his voice (on that note, people I know who also know JP are also very endeared by these aspects of him so I KNOW IT'S NOT JUST ME!!!).

'cause the thing is, he uses phrases that yeah, other people do use, but he uses a handful over and over and over (contrast to other characters' sparing use of repetition). it's actually... really refreshing? it sounds more relatable and less "video game/anime/JRPG/RPG" writing or something, idk. like closer to how a real person would speak.

I do my best in my translations not to make things sound too stiff across the board, but Yuri makes it so easy. it's why I'm so interested in translating all his lines in Vesperia, like... the actual, original tone for him with his original wording because it's smth Eng only players don't get to experience ('cause even if you listen with JP audio, if you don't know the language, ofc you're gonna miss out on context. it's nobody's fault for not knowing, just... they unfortunately miss out). the thing is, there are a lot of times when the lines in and of themselves are not contextually incorrect in the English ver (usually the situation for smaller scenes, because they altered the text outright for more important stuff which was the stuff that originally set me off, but there were also plenty of cases of just vocal tone shifting with the correct context that still gave off the wrong impression), but Yuri's tone is shifted away from the original in Eng even though it's completely and perfectly translatable.

I am by no means about to translate the entire game because let's face it, I really don't care that much for Vesperia on the whole. I'm kinda stuck with it because Yuri's there lo and behold I actually am WAY more engaged in his stories in Rays, Link and Asteria because it's an amazing character put into circumstances where he actually gets to shine and feels more alive, which Vesperia did not provide nearly as well with its very disjointed story. also, Tales gachas have banger stories that are arguably better than the mainline games, and they regularly make Yuri a very central character to the gachas. Crestoria was also about to do it until they pulled the plug on that game and I'm pretty confident something interesting has been lost to the world. also I just generally don't have the energy or motivation to do that, so... I'll only be focusing on Yuri's lines, especially because his stuff is where the bulk of the messing around was. he's just insanely fun to translate for and I love burying myself head first into his speech.

will I actually finish this project? dunno. will I get around to posting it? whatever I get done (so all of it if I complete it), and if I decide to call it quits then I'll post what I have at the time I decide that. will it take a long time? probably, but I can always mention stuff along the way...

[devilsskettle]

whenever i hear a song that i would like if it weren’t for the fact that it was too long, i think about this:

like you can afford to write tangentially if you/your music is already popular and you know that people are going to listen to you no matter what and in fact laud your longer pieces as being genius etc but can you really be releasing 5+ minute long songs without a built-in audience?

[thelaststarfalling]

just once i'd like to complete one (1) bigger project that i can actually be proud of

[kirnet]

I know we’ve all talked this point to death but it’s wild to me that the plan is 7 books. Like, a 7 book series is a LOT for plot heavy novel series with just one linear path instead of a massive undertaking for an if. I expect that from a dense fantasy or sci fi series. Something that has a lot of plot to develop and explore. But a romance??

Having plot as a means to an end for romance tropes is fine. I don’t think anyone goes into a romance series for plot, they go for character and dynamics and tropes. But then how do u justify 7 books…

[whatsupspaceman]

i feel like people Do often know how to do this, especially in academic settings, but internetism and just often being young makes people be very vocal about their bad literary takes. most of this kind of debate and discourse i see comes from teens ect who haven't maybe, gone through a queer history learning phase (which is not necessarily their fault, it’s hard to find it without actively seeking it out bc of queer history and knowledge being famously suppressed, but that's a whole different conversation). or even just ... gone through enough english classes. it wasn’t until mid and late high school when i remember first really diving into the weeds of cultural context of certain novels we studied. (like fahrenheit 451, or Seamus Heaney’s poetry, or the handmaids tale, or whatever lit your curriculum goes into) This happens so much with speculative fiction especially- where the time period of something like fahrenheit 451 isnt considered when someone reads the book, and they don’t understand how the fear of the cold war and culture of television at the time colored that fictional dystopia- and some of it seems ridiculous in the context of the 2020s. (Speculative fiction and dystopia is always always more about commenting on the current state of the world, not actually trying to predict the future)

Not that ignoring context isn’t a real thing and a problem on the internet (with lit and i see it SO frequently with film). But so often it just comes from a little echo chamber of folks talking about queer representation as something that must be explicit and stated out loud and confirmed every time.

It’s understandable how this came about too: when the history of queerness in film is inseparable from overwhelming censorship and how creators tried their best to work with what they had- leading to subtext (and bury/punish your gays) as the predominant way queer cinema could even be queer, now that we don’t “have” to follow the censorship of the Hayes Code in the same way, subtextual stories seem simply like the artists werent trying hard enough to show queerness, or they didnt care to, or subtextual narratives made on purpose get conflated with queerbaiting (another whole different post). This causes problems when critically viewing modern queer stories, as obviously, subtext stories are still very important (the problem comes when that’s all there is), and it causes problems when modern audiences look back with the cultural expectations of today’s representation to older works of queer literature and cinema and other media—

that’s what leads to queer folks today going: “well, why isnt dorian grey a fully fleshed out gay narrative?” or, “brokeback mountain is problematic representation because of its tragic narrative and punishment of queerness,” instead of viewing these stories keeping in mind how differnt it was when and where they came from, and knowing how groundbreaking these stories were for queer people within the context. Even something as modern as steven universe or legend of korra, are not excempt from the “modern-goggles”, where we see every queer story’s flaws in what it lacks in representation instead of the way they pave the way forward and outward. This mindset traps people into thinking the more critical we are and the more progress we make, that one day there will be “perfect” queer representation. But that’s never been the “goal” of queer representation.

It’s to be allowed to tell queer stories freely without the weight of potential backlash from being too queer, having to be censored or artists being punished for making art (like Oscar Wilde). To tell stories without the weight of backlash because it isn’t good enough representation that encapsulates every single queer experience. It’s the freedom to tell shitty queer stories and subtexual queer stories and stories about queer people who aren’t in healthy relationships or aren’t good people or have to even have happy endings. When we have a piece of queer media that’s just so fucking bad, but that doesn’t mean it reflects or says anything about “queer media” or queer people as a whole.

I hope sincerely that this tendency to beat up every queer story for its flaws without the historical and cultural context of why they have those flaws will die down, but I also hope it means we are moving towards the time where we have so much wonderful and wild and uncensored and diverse and varying queer media that it’s ok to have queer media that sucks, too.

it drives me bonkers the way people don't know how to read classic books in context anymore. i just read a review of the picture of dorian gray that said "it pains me that the homosexual subtext is just that, a subtext, rather than a fully explored part of the narrative." and now i fully want to put my head through a table. first of all, we are so lucky in the 21st century to have an entire category of books that are able to loudly and lovingly declare their queerness that we've become blind to the idea that queerness can exist in a different language than our contemporary mode of communication. second it IS a fully explored part of the narrative! dorian gray IS a textually queer story, even removed from the context of when its writing. it's the story of toxic queer relationships and attraction and dangerous scandals and the intertwining of late 19th century "uranianism" and misogyny. second of all, i'm sorry that oscar wilde didn't include 15k words of graphic gay sex with ao3-style tags in his 1890 novel that was literally used to convict him of indecent behaviour. get well soon, i guess...

[redjukebox]

Me: I am a literary genius and this story I am writing is a masterpiece and I will be the next Shakespeare

The masterpiece: incomprehensible dialogue that sounds like it was written by someone who has never had a conversation before and descriptions that sound like an unearthly being is trying to pass off as something with humanly experiences

I am a genius everybody please believe me

[travalerray]

it's the WORST when you can't interact with a particular fandom at ALL because they are simply incapable of talking about the plot but WILL talk about your NOTP for hours on end so you just mope about it in silence

[st4rbwrry]

𝓢𝓐𝓣𝓞𝓡𝓤’𝓢 𝓖𝓘𝓡𝓛.    satoru gojo.

ᰔᩚ warnings. 5.2k, fem!reader, professor!satoru x college student!reader, classroom sex cs duh, reader’s 23! & satoru’s 30!, oral ꒰ f + m ꒱, titty sucking, biting, size kink, voice kink, sub / dom dynamic, fingering, choking, spanking, lotssss of dirty talk omgie, multiple orgasms, pet names ꒰ lil’ girl (literally just a taunt), pretty, baby ꒱, roughhhhh sex ona desk, minors aren’t welcomed! reblogs + comments are greatly appreciated. ♡

꒰ mocha’s note ! ꒱ : got inspired by miller’s girl and wrote this in literally five hours. so, happy bday daddy. <3

he always knew there was something wrong with you. how could there not be? one, you’re deadly in the eyes. that he solidified the first day. always looking at him like you wanted to eat him. two, you're a mythical deity. stunning. you could be born in a different world for all he knew. sometimes he hated those voices that told him to stare at you. watch you watch him. velvet red hair cut in layers that reach the middle of your back. dermal piercing a few inches below your right eye, multiple on your ears, septum ring in your nose. your eyes are slanted like a cat, fluffy lashes enhance your features. your lips always look soft, darkly lined, and topped with a sheen of gloss. 

most days you dressed according to weather, or really whatever you felt comfortable in. yesterday, when going over the topic for an essay he wanted everyone to have written and turned in before spring break hit, you were different. just tuesday you were wearing oversized men’s jorts with a basketball jersey tied up to your back. now, when you walked into his classroom with less clothing than he’s ever seen you in, he had to question it. you looked nice. it wasn’t any of his business, maybe you could be going out later with friends. it’s not his business. 

what was his business was how you strutted up to his desk after you waited for every student to exit class. satoru sat in his leather chair, legs sprawled and hands clasped together in front of him as he leaned back into his seat. his eyes absentmindedly trail up and down your body full of curves and soft, ample skin. the tattoos on various areas of your body are more evident. the black prescription glasses sitting on the bridge of your nose as you chew your gum and hand over your essay. those short ass white ruffled shorts and a yellow crop top, without a bra, with green accents and black font that read ‘soulaan’ in the middle a distraction.

“hi, ꒰♡꒱. you’re always one of the few people who turn in their work early.” 

“what can i say, i was very passionate about this essay,” you twirl your finger within your necklace, scanning his entire face with flirtation. satoru hums, pretending not to notice. “i really put my entire soul into it, so please take your time reading it. it’ll mean a lot.” 

“must’ve been a really interesting dream of yours.” 

“you have no idea.” 

and you were fucking right. that night satoru went home and started his usual routine of getting comfortable, making dinner, and brewing some coffee so he’s wide awake to read over thirty student essays. luckily, he didn’t ask for much. they were given two options. their goal was to describe the perception of dreams or in detail, write a tragic fantasy story. most of the essays he read felt like middle school writing, frustratingly rubbing his temples as he graded multiple papers, trying to figure out why basic comprehension skills were lacking, even doubting himself as a teacher. he tries not to stay up for hours, flipping through papers and scribbling—until he sees your name on the corner. 

satoru sniffles, taking a sip of his coffee before he’s getting comfortable in his chair, sinking into it and beginning to read what you wrote about. you’ve always had a way with words, great formatting, expansive dictionary. when reading your dream, it felt like a real novel, like he was a part of it. then, he felt really a part of it, to a point where it was uncomfortable. the story has to do with a woman who aches for an intimate union with her lover, yet he’s withholding her pleasure, leaving her trembling on the precipice of desire in their lover's den. the greek god you describe as your lover is dominating. stunning facial features, starlight hair, and crystal blue eyes. the woman is feeble, urging him to see her, to yearn for her, to become one with her. abandoning her needs for his personal endeavors. 

with gentle touches that linger on the softness of her plush thighs, smoothing along her brown skin shining under the moonlight, she results in the sensual act of pleasuring herself. the help of her lover is nowhere to be found in the darkness where her body laid on milk-toned, silk sheets. leaving her to pursue the cavern flowing with burning, hot arousal. she finds herself daydreaming of what could’ve been as her delicate fingers find themselves sinking between her precious legs. trailing another hand to her throat which she clutches tight as if it were his. rolling her hips into her hand to grind on as if he were entering himself into her. dulcet whimpers escaping her throat as her body arches off the bed in ecstasy, mind swirling with pleasurable emotions and unforeseen desires. rocking her body upon the bed as if his heavy, big body hovered over her and lost himself in her. spanking herself as if it were him. chewing on her lower lip as if he were gnawing at them. orgasming with tiny whimpers and sobs as if he were the cause. him, him, him. . . 

the heat encasing satoru’s face could only sum up one feeling; arousal. the essay goes on for so much longer, conjuring up unwanted fantasies of a woman he promised to push back into the furthest parts of his brain. you were altering his mind. it was clear as day exactly who you wrote this for and about. him. what you wanted from him, the longing ache to have him. it’s enough to give him a migraine, cutting off his desk lamp before forcing himself to take a very cold shower. those words replay in his mind, the image becoming erotically more vivid. picturing your body atop of silk sheets where you’d fuck yourself out of pity. is that how he’s making you feel? edged? unsatisfied? whimpering in your loneliness? he’d never do that to you. 

satoru hates himself for needing to handle the painful hard on he’d gotten, head buried under the stream of water as his fist twists roughly around his aching dick, grunting at any image of your face coming to mind. it was a highly inappropriate thing to do. a professor and his student sleeping together? it’s all too cliche. you were a grown ass woman, so if teasing him by switching up how you dressed to purposely gain his attention, and writing erotic pornography was your way of showing him you needed him for one act, one day, one night of nasty ass sex . . what were he to do? you are a beautiful woman, and he’s always felt a source of attraction to you, but you weren’t worth jeopardizing his career for. it’d have to wait. 

the last day before spring break came and he was ready to confront you about your so-called ‘essay’. when he notices you walking into class, he tries to avoid staring at your attire; a really short black pleated skirt with a matching ed hardy tank top and glossy mary jane’s on your feet. gulping and keeping his focus on your eyes as he whispers, “stay after class. i need to talk to you.” 

you try to hide the smirk wanting to display upon your face, winking at him before nodding and finding your seat. class seems exceptionally longer today, finding yourself dozing off for most parts, shutting off your brain by doodling into your journal or making a grocery list for this weekend. pulling a sweet treat from your purse, you find a pink lollipop to distract yourself with, oral fixation getting to you. satoru almost chokes on his words when he catches you swirling your tongue mindlessly around your candy, being a fucking brat in his eyes. gently kicking your feet and resting your chin in your hand to keep yourself from sleeping. 

when the lecture ended, that’s when your heart began to race in excitement, and maybe a sheer sense of nervousness. curious to hear what he was going to say to you. making your way down the steep stairs of the class, you sit in the front row, plopping into a chair and crossing your legs as you look up at him, watching him say his final goodbyes as the class completely clears out. half of the campus was empty considering most students began making their way home, so really only fifteen students showed their faces today. 

satoru’s shoulders roll as he sighs, folding his arms in front of him. “so, ꒰♡꒱. . . i read your essay.” 

“uh huh, what’d you think?” you smile. 

“it's definitely something. very good writing, never doubted you on that. but, i do have some questions.” 

you snap your fingers before pointing them his way like a gun. “shoot!”

“you remember the topic of discussion, correct?” 

“wrote it down in bold,” you nod. 

“right, but, i think we went far off topic. as in, inappropriately.” 

“what are we, in high school?” you scoff. “i’ve read worse. i used to grade papers for teachers.” 

“i understand that. but it’s evidently not what i meant as far as the topic goes. in this dream of yours, the two characters are . .” he pauses, trying to figure out what to say. 

“fucking,” you finish for him, still sucking on your lollipop. 

satoru’s gaze flew there momentarily before finding your eyes again. “having intercourse, yes. i’m just having a hard time comprehending what you wrote.”

“why is that?” 

“how is it considered a tragedy?” 

“well, the woman couldn’t have what she wanted in the end. she was edged, given false hope from promises that were made to her. pleading for any form of gratification. why, as a man, deny your lover of acts that forever bonds their love?” 

you bat your lashes, eyes going wide as you word it so . . dreadfully. satoru inhales, stuffing his hands into his pockets as he squints at you. 

“so, she killed herself in the end, because she wasn’t gratified?” 

“as implied, yes. the pain of a woman, you’d never understand. it’s unbearable. feels like death, satoru,” a pained sigh emits from you as you hold your heart and shake your head. “ugh.” 

“꒰♡꒱,” satoru blinks, your games becoming unfunny. “was this dream something you recalled, or are you trying to imply something?” 

“dreams can’t always exist, unless you persuade yourself to make it real,” you respond firmly, making yourself as clear as you possibly can. 

“do you want it to be real?” 

“do you?” you counter. 

satoru pokes his inner cheek with his tongue, turning his attention away. “i-i can’t answer that.” 

“why not?”

“it’s just . . not in my position to answer that. it’s inappropriate.” 

“but, you felt it, right?” your voice grows softer.

he looks at you. “felt what?” 

“our attraction to each other,” your head slowly tilts to the side, eyeing him up and down, watching him slightly shift. “through that essay. what i want from you, what you’ve been wanting from me, professor satoru.” 

his jaw stiffens. “you’re essentially crossing a line.” 

“the only thing i’m crossing are my legs,” a loud pop! rings as you remove the lollipop from your mouth, looking at it before deciding to crack it in your mouth and tossing the white stick somewhere in the room. satoru’s fists clench whilst he admires your glistening legs. “you want them . . un-crossed? open?” 

“꒰♡꒱.” 

“mhm,” you moan after hearing your name desperately fall from his lips. he didn’t mean for it to sound that way, sucking in his breath as your fingers trail within your plush inner thighs. “it’s wet, professor satoru. see.” 

next, you spread your legs apart, lifting your skirt up some more so satoru can easily see the imprint of your cunt against the red fabric of your cotton panties, wetness sealing and sticking to you. 

satoru clears his throat, hand coming up to rub the back of his neck with a rough grunt, trying to contain himself from acting on his obvious desires. his polished loafers click amongst the tile as he strides quickly towards the classroom door, locking it and pulling the shade down so there would be no interruptions. he doesn’t know what he’s doing, he shouldn’t even react this quickly in fact. but he’s been pent up ever since last night, having such a hard time sleeping. only the thought of you glimmering in his mind. 

satoru takes a deep breath with shut eyes, hands sliding back into his slacks pockets as he leans against the desk, one foot crossed over the other, those once daydream blue eyes now staring maliciously in your direction. you bite your lip, slowly rising from your seat to strut towards him, hips swaying salaciously. 

your body brushes amongst his seductively slow, tits grazing his chest and arms that are tightly fitted into his baby blue button down, lips coming up to graze over his clenched jawline. your hand trails up his left arm, feeling the hair on his skin rise as your nails brush along his neck where a vein throbs violently, blood rushing. 

“don’t be so scared, i don’t bite. and i don’t tell.” 

in a swift move, you're hiking your body on top of the mahogany wood desk, kicking off your shoes and planting your feet flat on the surface, legs spread wide to allow him to slot himself between you. satoru’s vision remains unchanged, still staring at the seat you once resided in as he breathed heavily. your manicured foot skims up and down his strong arm, your short, bubblegum acrylics sliding into your mouth as you lewdly suck on your own fingers while mewling. satoru can see you in his peripheral vision, your hips shifting dauntingly, just waiting for him to react. 

“you already locked the door, what are you waiting for?” 

“for you to say it.” 

you grin. “say what, baby?” 

satoru scoffs, shifting in his spot from the sudden pet name, dick uncomfortably hard. “that you want me to fuck you, ꒰♡꒱. i need to hear it.” 

okay, you get it. lowering your leg from touching him, you go to grab his hand instead, the expensive watch on his wrist cold to touch as you guide him to touch the top of your thigh. “want you to fuck me like you've been needing to, satoru. please.” 

an unexplainable breath of air releases from him as he finally faces you, and seeing you spread along his desk like this felt like a hallucination. most of this didn’t feel real. maybe he was still sleeping? and if that was the case, there were no rules. his towering body slots between your thighs, glaring down at you possessively as he smoothes both his veiny hands up and down your thighs, tightening at your hips before sliding back up. going back down to apply pressure to your ass, then lowering his head to your pretty face. 

“gimme your mouth,” satoru rasps, clutching your neck to pull your face up before you oblige and lean in for a kiss first to feed his hunger. 

satoru grunts in your mouth, soft lips molding with your own in a passionate kiss. it’s slow, sucking on each other's lips before you’re sucking and moaning on his thick tongue, moaning into his mouth while he pants into yours. you suck on his lips, turning your head slightly to deepen the kiss, unbuttoning his shirt, desperate to feel the heat from his skin. then goes his belt, unraveling it along with pulling down his zipper, and that causes satoru to get aggressive with his mouth. kissing so rough it makes your pussy throb. 

“you taste so good, pretty,” he moans in between, turning your neck to the side to latch his lips and tongue on the flesh, your eyes rolling back as he found your sensitive spot. you gasp from the whimper he emits as he does it. 

“f-fuck,” you whimper, gripping his wrist as he suddenly sinks his teeth delicately into your skin, soothing it with a rough, slow swiped of his tongue before ending it with a kiss. 

he’s traveling to the other side to do the same, your hips rocking on the desk to try to get closer to him, his bulge only grazing your soaked pussy. you lift your hips and scoot closer, balancing yourself by gripping onto his shoulders to drag yourself against the outline of his dick. satoru moans from the motion, locking his right hand under your left thigh to raise higher so he could grind against you like you whimpered for, dry humping you as he continues to kiss you.  

soon, he’s lifting your top over your tits, eyeing them as they sit on your chest, barbells pierced into the dark skin of your nipples. it created a visceral response from him, shifting his hips to grind against you harder as if he’s fucking you slow, cocking his head to latch his full mouth around your tits. your head falls back as he pulls them into his mouth greedily, dropping your hips on him mindlessly. 

“satoru, you’re g’na make me cum too soon,” you whine into his ear, but he ignores you completely, almost growling like a dominant animal in heat as he locks you close. 

“g’na cum a few times fuckin’ me, so get over it,” he mumbles after releasing your tit with a lewd pop, switching his mouth to drop his tongue and enclose his lips over the other, tongue flicking with his hands slamming against the side of your ass falling bare of your skirt. 

satoru hisses a deep ‘fuck’ as you rotate your hips quicker, humping him like a bunny, an orgasm in fact happening. satoru picks up his pace, rolling his hips forward to match your rhythm, his eyes sparkling from your desperation. he’s leaking precum, and your slickness is drenching his briefs. 

“mgh, baby—fuck,” your tongue lolls out to lick and suck at the shell of his ear, biting gently on his earlobe as your knees buckle and you whimper while grabbing at his backside to pull him indefinitely closer. 

“lemme taste that shit,” satoru’s almost begging, your heavy breathing by his ear and inability to stop moving your hips fucking him up. he knows you taste as good as you look. 

you grip the edges of the desk as you nod, legs shakily raising as he roughly pulls your victoria’s secret thong with a blinged hemline off to finally see his other girl, lowering to his knees in worship. 

“she’s pretty as hell,” he whispers with an erotically drawn-out moan, licking his lips before he leaves open-mouthed kisses at your inner thighs, holding yourself open for him. he spanks your thigh hard, the hit making you squeak and stare at him with a stretched jaw and furrowed brows. “where’s that thank you, lil’ girl?”

“t-thank you, baby.” 

“mhm, that’s right,” now his lips are latching onto your sluice clit, hungry eyes piercing into your every emotion as you whimper pathetically and maintain eye contact you’re sure he wants. “fuck yes, baby. so fuckin’ good, girl. rock on my face.” 

sinking your teeth into your lips which you’re sure were bitten red and nearly chapped, you comply, gripping tight on the desk while your other hand tangles into tresses of white, swallowing and lifting your hips just like you were doing a few minutes ago. satoru’s thumbs are embedded into either side of your thighs, using only your pelvic muscle to shift into his mouth, his fat tongue hot on your pussy. 

“tongue so good, baby. nng,” your face scrunched up as he growls into your cunt, your inner thighs shaking when he slicks his face up and down your pussy, juices covering his chin. “right there, right there!” 

satoru keeps his mouth where you want it, focusing mostly on your engorged clit pulsating on his tongue, digging into and occasionally capturing it with his lips, his salvia drooling onto you as he moans, his eyes scrolling as you tug at his hair. 

“oooooo, fuck, yessss,” you didn’t mean to scream, but his attention on your clit gets distracted by his thick fingers sliding into your hole, twisting and thrusting two of them simultaneously. his jaw shifts quick, kissing and licking while he fucks you open. “ ‘t-toruuuhh.” 

“unh huh,” satoru continues to swallow you. “gimme that fuckin’ cream, baby. i want it all in my mouth. make me proud. atta girl.” 

you cry out, stomach heaving. “i love when you talk like that.” 

his fingers pull out to quickly spank your clit, your hips stuttering as he’s slipping them back in, pumping three to four times before taking them out again and spanking your clit again. “that’s what you like?” 

“y-yessss!” 

“fuckin’ sexy ass girl,” he spanks your outer thigh with vigor, coming to grab your throat once again, giving you a chaste kiss while he finger fucks you faster. “ain’t you? fuckin’ let me know. scream that shit out loud.” 

“i amm, ugh—god . . pleaseeee.” 

“go ‘head and cum, c’mon. gotta paint my dick pretty with it, yeah?”

“oh . . my . . g-goddd,” the way he talks to you makes you dizzy, and it’s everything you’ve ever dreamed of. his mouth is filthy, and when you cum hard for the second time, he makes sure you suck on his fingers to taste yourself. wrapping your lips around them to suck them clean before satoru’s sticking out his tongue to rush over your mouth along with his fingers, pulling them into his mouth to suck after. 

your eyes are drooped, feeling so fucked out without actually having him fuck you yet. who would’ve expected your professor to be this . . nasty? it’s like he’s been waiting for you to speak up so he can fulfill his own disgusting fantasies. safe to say, you made a good choice. 

satoru’s standing back to his full height, which never fails to make you ditzy from the size difference. you feel so small on this desk under him. 

“c’mere, move up all the way,” he’s now guiding you to turn your back to him, which makes you pout since you wanted to face him. he chuckles deeply at the audible disapproval, swatting your ass. “you’ll still see my face, greedy. be patient.” 

he positioned you on your knees on top of the desk facing a dusty chalkboard, spread eagle and hands pinned behind your back, almost curled up into a fetal position with your tits to your knees. satoru swallows, your pretty red hair falling angelically around your soft features as you wait for him to fuck you. his dick is throbbing in his fist he’s pumping it into, the shlick shlick noise leaving you anticipated as he uses your arousal as lube. he’s aligning the tip with your opening, teasingly rubbing the head up and down, the vein on the underside of his heavy dick throbbing. 

his other hand is keeping you pinned down at your hip, also lifting the flesh of your ass so he can slide into you. he’s pushing forward, choking on a moan the deeper he gets. you’re real tight, it being slightly difficult to push fully into you. words like ‘relax’ and ‘breathe baby’ utters painfully from satoru as he tries not to lose his shit at the sight of your pussy literally gripping his dick to pull back in after he slightly shifts back. when he’s halfway in, leaving the hand on your hip, he uses the other you lock your wrists behind your back, gyrating his hips to cock back and grind into you. 

“ooo, f-fuck,” you whimper, hands wiggling in his grasp, nails managing to scratch his arm. satoru watches the flesh of your ass bounce with every deep, slow thrust, pussy squelching. 

“see? look at the shit,” satoru comments to himself, knitting his brows together in fascination. “told ya’ it’d make it pretty,” 

“can’t see it,” you whimper, upset. 

“you can feel it, right? it’s stretchin’ that pretty girl open,” satoru moans gruffly, moving himself closer so his sharp hips hit your ass with every movement. he’s getting rougher, your skin nearly bruising from his hot touches, the bangles on your wrist clinking with each thrust. 

“i feel it,” you hiss, stomach caving in. “bet s’so pretty.”

“yeah? promise to give it a taste after?” 

“yeah,” you nod slowly, eyes tightly shut. “y-yeah. will, ‘toru.” 

“good girl.” 

gasps fill the air when he fucks you harder, balls slapping against your sticky clit as your ass recoils and claps back onto his abdomen. he’s got a deadlock on your posture, satoru’s face completely serious as he fucks you so, so rough. his sounds are animalistic compared to your own; whiny and soft. coughing out moans as you heave against the desk creating a spot of condescension. he’s so big hovering over you, bending you underneath him, papers falling off the desk while he rutted into you. skin clapping, moans synchronized, and sweat dripping. it’s the hottest fucking scene. 

“takin’ me so deep, baby. this shit feels so fuckin’ . . good, god,” satoru’s voice breaks, hitting you ass with a dirty grunt. “ungh, fuckin this pussy g’na get me in trouble.” 

“i n-need you,” you fight to break free from his grip, flipping your hair over to one side of your face as you sit up after he releases his grasp. “closer.” 

taking the initiative, you go to stand on your feet, back pressing to his chest as he clasps your throat, standing on your tiptoes to rotate and grind your ass back on his dick, stuffing you so full you feel it in your tummy.  

“that’s my girl,” satoru’s kissing your earlobe, pressing his cheek onto the side of your face as the two of you controlled your breathing together. “it’s your dick, take it. fuck that pussy how you want. i’m your fuckin’ toy.” 

“ssshit,” sucking your lips inwardly, you keep your hand on satoru’s wrist while your arm slings behind his neck to balance yourself, the ridges of veins on his dick scratching all the good, achy parts. 

“c’mon, girl, got me waitin’ too long,” without incoming, satoru spanks your thigh, hips thrusting steadily. “if you g’na fuck me, do it right.” 

you try to keep your composure, but the sultry, deep baritone of his voice directly by your ear makes your waist stutter, that warm, bubbly feeling swarming in your tummy. his mouth is back on your neck, and that activates you quick, sobbing and clapping your ass back needily. the mutual desperation to cum is at an all-time high. 

“there we go, t-there we go, girl. that’s what i wanted. s’good,” satoru’s gorgeous eyes cast white, jaw dropping as he grunts, holding your waist just to hold you, allowing you to handle it. “ungh, fuck. keep fuckin’ back.” 

the burn in your legs prolongs as you sway your hips and fuck back on him, his grip on you keeping you balanced to give you enough space to move how you want. this dick is slick with your cum, a ring of cream covering it as you cry and push all your weight back so you're feeling every inch while he's experiencing every tight clench.

“ ‘toru, i—” your words are cut off by an interrupted orgasm, cumming yet again as you greedily roll your ass back with weak cries. your legs feel staticky, almost falling down before satoru makes sure to lock his forearm around your stomach. 

“ ‘toru needs t’ cum too.” 

interlocking his right hand with yours, the two of you hold hands as he lays it on your thigh, bringing your head back to rest on his shoulder with a hand grasping your throat tight, nearly cutting your airways. he’s getting . . mad? nothing satisfies him more than to know he’s made a woman cum multiple times in one session, but when he gets as horny and fucked out as he was now? it wasn’t a good idea to leave him without one orgasm. and he can definitely give you more than just one. he wanted to show you that, you deserved that. 

satoru begins to pull his hips back, giving you a sweet kiss on the lips to let you know he still cares and will comfort you after. just needs a few minutes of shutting off that part of his brain to fuck himself dumb. your pussy clenches and pulsates sloppily on his dick as he fucks you harder than he has before, the breath knocking out of your throat while he squeezes his eyes shut and pounds assertively. they’re neither fast nor slow, just steady and rough. like he’s been needing it so damn bad. the warmth of you getting him out of character, the scent of your perfume enveloping him. the conditioner in your soft, red velvet hair. the tattoos inked into your brown skin, the piercings on your ears and face. your fogged-up glasses, courtesy to him. the unexplainable pleasure he derives off of hearing you whimper ‘toru, toru, toru’. 

who knows what kind of fucking spell you put on him. he just knows he’ll never, ever erase today from his memory. it’ll play like a tantalizing loop. tears threaten to fall from your eyes, cunt going sore from his brutal pivots, falling back weakly into his strong body and gasping from every deliciously deep, thrust. satoru kisses at your face, lashes kissing your cheekbones, trying your best to look up at him. and when you do, you can see he’s utterly gone. the groans emanating, feral growls, and pinball white eyeballs that couldn’t stop scrolling into the back of his head. you watch him mumble your name while spewing expletives, pink lips wide as his whimpers and moans break apart.

“fuck!” he bellows, moving your bodies back towards the desk as he pins you down flat and fucks your ass back onto him, that pressure tugging at him. he's pressing the side of his cheek with yours, breathing heavily while gripping your jaw and dropping his weight on your backside. “fuck, fuck. fuck.” 

“ ‘toru, please cum for me, baby. w’na taste you so bad.”

and he does, as soon as you say his goddamn name like that again, that vanilla voice of yours, seductive yet sweet, coaxing him to cum. 

“knees, baby. suck me,” satoru heaves in a high pitch.

hurriedly, you twist your body to crouch below him, palm wrapping around his dick, satoru’s hand taking strands of your hair to make a ponytail on the back of your head to bob your head to suck him, hips stuttering and his lips damn near quivering. your cheeks hollow inwards as you swallow him in your throat, satoru guiding your head as he shoots his cum hot in your mouth. you moan around him, staring up at him through your dark falsies to be rewarded with the beautiful sight of his snow white hair shielding his face, blue eyes glowing as he looks at you with a genuine laugh. 

pulling your head back, you wipe your mouth slowly with the back of your hand, satoru’s dick twitching midair, semi-hard. he holds both palms out, waiting for you to grab him so he can pull you up. you take them, and he brings your chest to his. 

“fuck, you’ve got me spent,” his hands are now on either side of your face, locking his lips with yours once more. “so damn good.” 

“mhm,” you blink with a goofy smile, pulling your shirt down and smoothing your hair. kissing his face, you wipe your lipgloss off any part of his skin. “so, same time after break?” 

© 𝑠𝑡4𝑟𝑏𝑤𝑟𝑟𝑦 . all rights reserved. please do not repost, steal, or modify my work simply because it is mine. stealing isn't cute. i'll ruin your life.♡

[teaandspite]

The Great Goodreads Diss List (Part 1)

Context: For many years now, I have been collecting funny lines from Goodreads reviews to share with my coworkers. (I do collection development, reader's advisory, and weeding at a public library, so I read a LOT of reviews)

Are some of these, perhaps, rather mean? Yes, but they are also very funny, and come from a place of honest frustration. In the tradition of Bargepole threads and lists everywhere, names and titles have been censored.

"First, I want to say that I understand how hard it is to write a book and how amazing it is when it is actually published. Congrats to the author for that accomplishment. That said--"

"Warning: This review will be lengthy due to pure hatred."

"I found myself feeling really, really annoyed with the world that this book is allowed to exist. We live in a universe where the passenger pigeon is extinct but this book goes along merrily being read by unsuspecting lovers of words and ideas and stories? It just seems like too much, you know?"

"Don't do it. Don't spring the cash for the hardcover. Instead, eat an entire bag of Twizzlers, spend some money you don't have at a high-end department store, look up on Facebook the shady college boyfriend that made you cry, research the current value of your home or 401K and then read all about how the big hedge fund managers are faring during the economic crisis. You'll feel about the same stomach pain if you waste your time reading this book."

"This wretched novel begins with the mugging of an old lady and it appears I may be in the process of repeating that loathsome crime as [author] was 78 when she wrote it. It is not nice to put the boot into such a poor defenseless old creature lying there with only a damehood, a Booker Prize and a few million quid. It’s a nasty job but somebody has to do it."

"I think this is the way dead people would write, if they could."

"I am considering setting up SPABB: Society for the Protection of Accurate Book Blurb. This blurb appears to have been written by someone from the publishers who met [the author] the night before, got very drunk, lost his notes and then constructed something in a fug of hangover the next morning."

"I congratulate [the author] on the early half of his book, which was thoroughly fun and made me laugh and think. I congratulate [the author] on the second half of his book, for finishing it. It reads like that was difficult."

"…a woman whose taste in contemporary literature has roughly the same batting average as a pitcher in the National League."

"The author is a pompous windbag."

"Recommends it for: No one. Recommended to me by: A friend who apparently wished to cause me great suffering."

"Makes me wonder: is it possible to obtain similes at a volume discount?"

"The repeated phrases made me want to mail a thesaurus to the author."

"I'm disappointed in myself for finishing this book."

"if the author described [character's] eyes as "obsidian" one more time I was tempted to write her and ask if her thesaurus broke."

"They say that an infinite number of monkeys with an infinite number of typewriters would, if given infinite time, eventually produce the complete works of William Shakespeare. [This book], on the other hand, would probably take the average monkey just under two hours."

"I can't imagine what the author had to do to get this nadir of Western literature printed on innocent trees, but he does seem to know a LOT about being well-connected in New York."

"This book is so bad it is almost worth reading just to make you appreciate the other books you are reading."

"Reads like it was written by a brilliant author, the night before it was due."

"raises interesting questions, like: can a book be so bad as to constitute an act of terrorism"

"has this author ever spoken to a human woman"

"This acorn has fallen so far from the tree that it can’t even see the forest."

"I’m guessing they are touted as ‘beach reads’ because no one will care if they get dropped into the ocean."

"This book begins with all the energy of a hand vacuum near the end of its battery life, and the pace doesn't quicken much from there."

"At least everybody’s eyes stayed the same color this time around.”

Part 2

Part 3

[haggishlyhagging]

In 1847 the stereotypes for male and female writers were very rigid. Critics expected from a male writer strength, passion, and intellect, and from a woman writer they expected tact, refinement, and piety. They depended on these stereotypes so much, in fact, that they really didn't know how to proceed, what to say, or what to look for in a book if they were unsure of the author's sex.

So Jane Eyre created a tremendous sensation, and it was a problem for the Brontës. The name Currer Bell could be that of either a man or a woman and the narrator of Jane Eyre is Jane herself. The book is told as an autobiography. These things suggested that the author might have been a woman. On the other hand, the novel was considered to be excellent, strong, intelligent and, most of all, passionate. And therefore, the critics reasoned, it could not be written by a woman, and if it turned out that it was written by a woman, she had to be unnatural and perverted.

The reason for this is that the Victorians believed that decent women had no sexual feelings whatsoever—that they had sexual anesthesia. Therefore, when Jane says about Rochester that his touch "made her veins run fire, and her heart beat faster than she could count its throbs," the critics assumed this was a man writing about his sexual fantasies. If a woman was the author, then presumably she was writing from her own experience, and that was disgusting. In this case we can clearly see how women were not permitted the authority of their own experience if it happened to contradict the cultural stereotype.

But even more shocking than this to the Victorians was Jane's reply to Rochester, a very famous passage in the novel. He has told her he is going to marry another woman, an heiress, but that she can stay on as a servant. Jane answers him thus:

"I tell you I must go," I retorted, roused to something like passion. "Do you think I can stay to become nothing to you? Do you think I am an automaton, a machine without feeling and can bear to have my morsel of bread snatched from my lips and my drop of living water dashed from my cup? Do you think because I am poor, obscure, plain and little, I'm soulless and heartless? You think wrong. I have as much soul as you and full as much heart. And if God had gifted me with some beauty and much wealth, I should've made it as hard for you to leave me as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionality, nor even of mortal flesh. It is my spirit that addresses your spirit, just as if both had passed through the grave and we stood at God's feet equal—as we are."

This splendid assertion violated not only the standards of sexual submission, which were believed to be women's duty and their punishment for Eve's crime, but it also went against standards of class submission, and obviously against religion. And this sort of rebellion was not feminine at all.

The reviews of Jane Eyre in 1847 and 1848 show how confused the critics were. Some of them said Currer Bell was a man. Some of them, including Thackeray, said a woman. One man, an American critic named Edgar Percy Whipple, said the Bells were a team, that Currer Bell was a woman who did the dainty parts of the book and brother Acton the rough parts. All kinds of circumstantial evidence were adduced to solve this problem, such as the details of housekeeping. Harriet Martineau said the book had to be the work of a woman or an upholsterer. And Lady Eastlake, who was a reviewer for one of the most prestigious journals, said it couldn't be a woman because no woman would dress her heroines in such outlandish clothes.

Eventually Charlotte Brontë revealed her identity, and then these attacks which had been general became personal. People introduced her as the author of a naughty book; they gossiped that she was Thackeray's mistress. They speculated on the causes of what they called "her alien and sour perspective on women." She felt during her entire short life that she was judged always on the basis of what was becoming in femininity and not as an artist.

-Elaine Showalter, ‘Women Writers and the Female Experience’ in Radical Feminism, Koedt et al (eds.)