#procedurally generated shitpost

[auroroboros1]

is this not magic? to capture an image and to corrupt it thus? and to share it to people on the other side of the planet?

[cyberspacebear]

graydon but he's dysphoria posting

noo buddy it's ok

[cinema-hallucinations]

Prompt: create a movie about a detective with a strange ability. When wearing someone's belonging, they can gain relevant glimpses of knowledge about their past. Mix the drama of crime solving with the occasional comedic effects of having to wear wildly inappropriate or merely uncomfortable clothes (such as a leather bondage hood or high-heel shoes). Not to mention tensions with colleagues and DAs with reasonable concerns about evidence tampering or contamination.

Tagline: What do your clothes say about you?

Worn Memories

Logline: A detective with the uncanny ability to access memories by wearing objects discovers a string of seemingly unrelated murders connected by a single, elusive clue. As he delves deeper into the cases, he must navigate the challenges of his unique gift while uncovering a sinister conspiracy.

Characters:

Detective Randy Kirkendall (30s): A brilliant but unconventional detective with a mysterious ability. He can gain insights into a person's past by wearing their belongings.

Dr. Pam Ballard (50s): A renowned forensic psychologist who studies the human mind and its relationship with objects. She becomes Randy's mentor and helps him understand his unique gift.

Captain Jason Folkus (40s): Alex's skeptical and no-nonsense boss. He initially doubts Alex's methods but gradually comes to appreciate his unique abilities.

The Killer: A shadowy figure with a complex motive and a penchant for leaving behind cryptic clues.

Plot Summary:

Detective Randy Kirkendall is investigating a series of seemingly unrelated murders. The victims have no connection, and the crime scenes offer few clues. Desperate for answers, Randy begins to experiment with his unusual ability. He discovers that by wearing a victim's clothing, he can gain insights into their final moments. Shoes reveal their movements, hats and wigs provide clues about their whereabouts, and glasses offer a visual perspective.

As Randy delves deeper into the cases, he uncovers a disturbing pattern. The victims are all connected to a secretive organization involved in illegal activities. The killer is leaving behind cryptic clues, using the victims' belongings to taunt Randy and the police.

Randy must navigate the challenges of his unique gift, often finding himself in uncomfortable or even dangerous situations. He wears a leather bondage hood to gain insights into a victim's final moments, only to be mistaken for a fetish enthusiast. He stumbles through a crime scene wearing high heels, drawing curious glances from his colleagues.

Despite the challenges, Randy's unconventional methods prove invaluable. He uses his ability to piece together the killer's identity, unraveling a complex web of lies and deception. The climax involves a tense confrontation with the killer, where Alex must use his unique gift to outsmart the villain and bring them to justice.

Themes:

The power of objects: The film explores the idea that objects can hold memories and emotions, providing a unique perspective on the past.

The dangers of incomplete information: Randy's ability can sometimes provide misleading information, leading to hilarious misunderstandings and costly dead ends.

The dangers of obsession: The killer's obsession with leaving behind cryptic clues becomes a central theme, showing the destructive power of obsession.

Ending:

Randy successfully apprehends the killer, using his unique gift to uncover their identity and motives. The case becomes a landmark in forensic science, demonstrating the potential of unconventional methods. However, Randy's experience leaves him changed, forever aware of the hidden stories that can be found within everyday objects.

[auroroboros1]

M𐀂𐀜rs DNI

F𐀁𐀀tv𐀩d Ch𐀀𐀨c𐀳rs: M𐀂gv𐀁l O’H𐀀𐀨, M𐀃𐀃n C𐀛ght Sys𐀳m, B𐀀𐀯l S𐀴tt, An𐀮lm V𐀃g𐀁lv𐀁𐀂𐀆, Blv𐀁 I𐀃𐀚s, P𐀃𐀁 D𐀀𐀕𐀫n, N𐀀th𐀀n B𐀀𐀳𐀔n, Dvc𐀁 L𐀁𐀵 At𐀩𐀂𐀆s, P𐀪nc𐀁 I𐀃hn, S𐀀n𐀴𐀀g𐀃 “P𐀃𐀟” G𐀀rc𐀂𐀀 x 𐀀f𐀀b!𐀩𐀀𐀆r (P𐀫𐀜vns 𐀀nd 𐀆sc𐀪p𐀴𐀃ns 𐀀𐀩n’t v𐀮d f𐀃r th𐀁 𐀩𐀀𐀆r)

CV: SMVT (𐀇d y𐀃v l𐀃𐀃c 𐀀t th𐀁 𐀴tl𐀁?), 𐀟t 𐀙𐀕s, sl𐀂ght 𐀯𐀽 𐀇ff𐀁𐀩nc𐀁, f𐀂ng𐀁𐀪ng, f𐀀c𐀁 𐀪𐀇ng, 𐀕n𐀴𐀃n 𐀃f 𐀟𐀪𐀃ds, sl𐀀p𐀠ng, 𐀵ys, 𐀀𐀙l, dvb-c𐀃n, svb 𐀀nd 𐀈m 𐀫l𐀁s, sqv𐀂r𐀴ng, 𐀃v𐀁rs𐀴m/cry𐀂ng, vnt𐀨nsl𐀀𐀳d S𐀞𐀛sh, 𐀀nd 𐀡s𐀯bly 𐀰𐀕 𐀃th𐀁r th𐀂ngs (All 𐀀𐀩 𐀂vst b𐀪𐀁f 𐀕n𐀴𐀃ns)

Th𐀁𐀮 𐀀𐀩 𐀂vst 𐀰𐀕 sh𐀃rt, dvmb l𐀂ttl𐀁 𐀨mbl𐀁s/h𐀁𐀀dc𐀀n𐀜ns 𐀃f 𐀖𐀚, 𐀰 𐀂t’s 𐀜t v𐀪t𐀳n th𐀁 b𐀁st. N𐀃t p𐀫𐀃f𐀩𐀀d 𐀃r h𐀁𐀀v𐀂ly 𐀁𐀇𐀳d.

(Lmc 𐀂f y𐀃v v𐀀nt 𐀗𐀩 𐀂n th𐀁 fvtv𐀩)M𐀂gv𐀁l O’H𐀀𐀨 - Ac𐀫ss th𐀁 S𐀠𐀆rv𐀁r𐀮

M𐀂gv𐀁l 𐀂s 𐀀 𐀴𐀩d 𐀔n, 𐀀lv𐀀ys 𐀃v𐀁rv𐀃rc𐀂ng h𐀂m𐀮lf v𐀂th th𐀁 S𐀠𐀆r S𐀃c𐀂𐀁ty. All b𐀁c𐀀v𐀮 h𐀁’s 𐀁xt𐀩𐀕ly th𐀃𐀫vgh, 𐀚v𐀁r l𐀁𐀀v𐀂ng 𐀰𐀕th𐀂ng 𐀵 b𐀁 c𐀃mpl𐀁𐀳d 𐀀t 𐀀 l𐀀𐀳r 𐀅𐀳. B𐀁c𐀀v𐀮 𐀃f th𐀂s, 𐀂t’s 𐀜t 𐀃f𐀳n h𐀁 g𐀁ts th𐀁 ch𐀀nc𐀁 𐀵 𐀆st𐀩ss.

S𐀃, vh𐀁n 𐀂t c𐀃𐀕s 𐀴𐀕 𐀵 pl𐀁𐀀sv𐀩, h𐀁’s 𐀂vst 𐀀s th𐀃𐀫vgh. M𐀂gv𐀁l 𐀔c𐀁s sv𐀩 y𐀃v f𐀁𐀁l 𐀂vst 𐀀s mvch pl𐀁𐀀sv𐀩 𐀀s h𐀁 𐀈𐀁s.

Of c𐀃vr𐀮, b𐀁c𐀀v𐀮 𐀃f h𐀂s l𐀀cc 𐀃f f𐀩𐀁 𐀴𐀕, M𐀂gv𐀁l 𐀈𐀁sn’t c𐀀𐀩 vh𐀁𐀩 𐀃r vh𐀁n 𐀂t h𐀀p𐀟ns, h𐀁’s 𐀁𐀀𐀴ng y𐀃v 𐀃vt.

Y𐀃v’𐀩 𐀂n h𐀂s 𐀃ff𐀂c𐀁? B𐀁nd 𐀃v𐀁r.

Y𐀃v’𐀩 𐀃n y𐀃vr 𐀟𐀪𐀃d? I gv𐀁ss h𐀁’s 𐀜t b𐀁𐀀𐀴ng th𐀁 v𐀀m𐀠𐀩 𐀀ll𐀁g𐀀𐀴𐀃ns.

P𐀂cc 𐀀 𐀴𐀕 𐀃r 𐀀 pl𐀀c𐀁, h𐀁’s th𐀁𐀩, v𐀂ll𐀂ng 𐀵 th𐀃𐀫vghly pl𐀁𐀀𐀮 y𐀃v 𐀂n vh��𐀳v𐀁r v𐀀y h𐀁 c𐀀n.

M𐀂gv𐀁l 𐀂s 𐀃n h𐀂s c����𐀁s v𐀂th y𐀃vr l𐀁gs 𐀃v𐀁r h𐀂s sh𐀃vl𐀆rs. H𐀂s cl𐀀vs g𐀁ntly p𐀪cc𐀂ng 𐀀t th𐀁 𐀰ft 𐀃f y𐀃vr th𐀂ghs 𐀀s h𐀁 h𐀃lds y𐀃v s𐀴ll.

If y𐀃v sqv𐀂rm 𐀵𐀃 mvch, h𐀁 𐀂s gl𐀀𐀪ng 𐀀t y𐀃v f𐀫m 𐀃v𐀁r𐀵p y𐀃vr h𐀁𐀀t, 𐀠n𐀛ng y𐀃v 𐀂n pl𐀀c𐀁 v𐀂th 𐀃𐀚 𐀃f h𐀂s 𐀔s𐀯v𐀁 h𐀀nds.

H𐀂s 𐀵ngv𐀁 rvns l𐀀ps 𐀂n y𐀃vr cvnt, 𐀳𐀀𐀯ng y𐀃vr cl𐀂t 𐀀nd slvr𐀠ng y𐀃v vp. H𐀁’s 𐀁𐀀𐀴ng y𐀃v l𐀂c𐀁 𐀀 s𐀲rv𐀁d 𐀔n, l𐀁t𐀴ng 𐀃vt s𐀔ll g𐀫vls 𐀁v𐀁ry 𐀜v 𐀀nd 𐀀g𐀀𐀂n.

M𐀂gv𐀁l v𐀂ll 𐀩fv𐀮 𐀵 𐀵vch h𐀂m𐀮lf vn𐀴l y𐀃v’v𐀁 cl𐀂𐀔x𐀁d mvl𐀴pl𐀁 𐀴𐀕s. H𐀁 h𐀀s th𐀁 s𐀲𐀖𐀙 𐀵 c𐀁𐀁p g𐀃𐀂ng f𐀃r h𐀃vrs, 𐀀nd th𐀂s 𐀂s 𐀂vst 𐀀 v𐀀rm vp f𐀃r h𐀂m. B𐀁𐀯𐀆s, h𐀁’d 𐀨th𐀁r 𐀮𐀁 𐀁𐀂th𐀁r 𐀃f y𐀃vr p𐀩tty l𐀂ps v𐀨p𐀟d 𐀀𐀫vnd h𐀂s l𐀁ngth 𐀃v𐀁r h𐀂s h𐀀nd.

Vh𐀁n y𐀃v’𐀩 𐀀 t𐀩mbl𐀂ng, 𐀰p𐀠ng 𐀕ss vn𐀆r𐀚𐀀th h𐀂m, h𐀁’ll f𐀂𐀙lly s𐀵p. H𐀂s l𐀃v𐀁r f𐀀c𐀁 𐀂s sh𐀂ny 𐀀s h𐀁 l𐀂ccs h𐀂s l𐀂ps 𐀀nd hvng𐀪ly s𐀖rcs 𐀀t y𐀃v.

“D𐀃n’t th𐀂nc th𐀂s 𐀂s 𐀃v𐀁r, 𐀖 𐀀𐀗r. Th𐀂s 𐀂s 𐀂vst th𐀁 b𐀁g𐀂n𐀛ng…”M𐀀rc S𐀟c𐀵r / S𐀳v𐀁n G𐀨nt / I𐀀c𐀁 L𐀃ccl𐀁y - M𐀃𐀃n C𐀛ght

M𐀀rc v𐀀nts y𐀃v 𐀵 f𐀁𐀁l 𐀀s mvch pl𐀁𐀀sv𐀩 𐀀s 𐀡s𐀯bl𐀁, b𐀁c𐀀v𐀮 vh𐀂l𐀁 h𐀁 𐀆𐀛𐀁s 𐀂t, 𐀀 𐀞rt 𐀃f h𐀂m 𐀂s 𐀀 𐀟𐀃pl𐀁 pl𐀁𐀀𐀮r. H𐀁 𐀀lv𐀀ys pvts h𐀂s 𐀞rt𐀚rs 𐀀b𐀃v𐀁 h𐀂m𐀮lf, 𐀂nclv𐀇ng dv𐀪ng 𐀂n𐀴𐀔𐀳 𐀗𐀕nts.

M𐀀rc 𐀂s 𐀁x𐀟𐀪𐀁nc𐀁d 𐀀nd h𐀁 v𐀂ll 𐀲c𐀁 th𐀁 𐀴𐀕 𐀵 c𐀜v vh𐀀t y𐀃v l𐀂c𐀁. M𐀀rc p𐀨c𐀴c𐀀lly 𐀕𐀗𐀪𐀽s y𐀃vr b𐀃dy 𐀀nd vh𐀀t g𐀁ts y𐀃v 𐀪l𐀁d vp. Bvt 𐀂f h𐀁 h𐀀s th𐀁 ch𐀃𐀂c𐀁, h𐀁 h𐀀s y𐀃v 𐀃n y𐀃vr c𐀚𐀁s 𐀀s h𐀁 𐀁𐀀ts y𐀃v 𐀃vt f𐀫m b𐀁h𐀂nd.

M𐀀rc h𐀀s y𐀃v b𐀁nt 𐀃v𐀁r 𐀀s h𐀂s 𐀵ngv𐀁 h𐀂ts th𐀀t 𐀟rf𐀁ct s𐀡t, c𐀀v𐀯ng y𐀃v 𐀵 t𐀩mbl𐀁 𐀀nd 𐀗𐀀n 𐀂n pl𐀁𐀀sv𐀩.

H𐀁 l𐀃v𐀁s 𐀮𐀁𐀂ng y𐀃v g𐀨sp th𐀁 sh𐀁𐀁ts 𐀀s y𐀃v bvry y𐀃vr f𐀀c𐀁 𐀂n y𐀃vr 𐀠ll𐀃v, 𐀵 h𐀂m 𐀂t’s 𐀀 𐀯gn 𐀃f v𐀀l𐀂𐀅𐀴𐀃n, 𐀁v𐀂𐀆nc𐀁 th𐀀t h𐀁’s 𐀔c𐀂ng y𐀃v f𐀁𐀁l g𐀃𐀃d.

H𐀂s h𐀀nds g𐀨b 𐀀t y𐀃vr th𐀂ghs 𐀀nd 𐀀ss 𐀀s h𐀁 g𐀃𐀁s 𐀵 𐀵vn. If h𐀁 f𐀁𐀁ls y𐀃v try 𐀵 pvll 𐀀v𐀀y, h𐀁’ll sv𐀀t y𐀃vr 𐀩𐀀r vn𐀴l y𐀃v s𐀲y s𐀴ll.

Vh𐀁n h𐀂s 𐀗vth s𐀲rts 𐀵 𐀀ch𐀁, M𐀀rc v𐀂ll pvll vp 𐀀nd 𐀂n𐀮rt h𐀂s f𐀂ng𐀁rs 𐀂ns𐀳𐀀d. H𐀁’ll 𐀗v𐀁 th𐀁m 𐀂n th𐀁 v𐀀y th𐀀t h𐀀s y𐀃vr 𐀵𐀁s cvrl𐀂ng 𐀀nd h𐀀s mvffl𐀁d sc𐀩𐀀ms c𐀃𐀖ng f𐀫m y𐀃vr 𐀠ll𐀃v.

Of c𐀃vr𐀮 th𐀃vgh, h𐀁 f𐀂𐀛sh𐀁s th𐀁 𐀂𐀃b v𐀂th h𐀂s 𐀗vth b𐀀cc 𐀃n y𐀃v, d𐀪nc𐀂ng vp 𐀁v𐀁ry 𐀃vnc𐀁 y𐀃v g𐀂v𐀁 h𐀂m. H𐀁’ll l𐀂cc h𐀂s l𐀂ps cl𐀁𐀀n 𐀀nd c𐀂ss y𐀃vr cvnt 𐀂n p𐀨𐀂𐀮.

“Y𐀃v 𐀇d 𐀰 g𐀃𐀃d f𐀃r 𐀕, 𐀅rl𐀂ng…”

S𐀳v𐀁n 𐀂s th𐀁 𐀗st 𐀂n𐀮cv𐀩 𐀃f th𐀁 b𐀃ys. H𐀁 𐀚v𐀁r h𐀀d th𐀁 ch𐀀nc𐀁 𐀵 𐀅𐀳 b𐀁f𐀃𐀩, 𐀰 h𐀁’s 𐀀lv𐀀ys v𐀃r𐀪𐀁d 𐀀b𐀃vt 𐀔c𐀂ng y𐀃v f𐀁𐀁l g𐀃𐀃d. H𐀁 𐀁s𐀟c𐀂𐀀lly v𐀃r𐀪𐀁s vh𐀁n h𐀁 h𐀁𐀀rs h𐀃v M𐀀rc 𐀲lcs 𐀀b𐀃vt y𐀃vr gvys' 𐀴𐀕 𐀵g𐀁th𐀁r. S𐀳v𐀁n v𐀀nts 𐀵 𐀔c𐀁 y𐀃v f𐀁𐀁l 𐀂vst 𐀀s g𐀃𐀃d.

Bvt S𐀳v𐀁n 𐀂sn’t 𐀀s 𐀀ff𐀂r𐀔𐀴v𐀁 𐀀s M𐀀rc 𐀃r I𐀀c𐀁.

S𐀳v𐀁n v𐀂ll c𐀁𐀁p y𐀃v 𐀃n y𐀃vr b𐀀cc, h𐀂s h𐀀nds f𐀁𐀁l𐀂ng h𐀂s f𐀀v𐀃𐀪𐀳 𐀞rts 𐀃f y𐀃vr b𐀃dy. H𐀁 l𐀃v𐀁s 𐀵 c𐀀𐀩ss y𐀃v.

S𐀳v𐀁n l𐀂c𐀁s 𐀵 b𐀁 th𐀃𐀫vgh bvt 𐀀l𐀰 𐀵 g𐀃 sl𐀃v. H𐀁 v𐀀nts y𐀃v 𐀵 f𐀁𐀁l 𐀁v𐀁ry l𐀂ttl𐀁 𐀗𐀕nt h𐀁 𐀔c𐀁s.

H𐀂s 𐀵ngv𐀁 h𐀂ts th𐀁 s𐀡ts y𐀃v l𐀃v𐀁, bvt 𐀂t’s 𐀕th𐀃𐀇c𐀀l, c𐀀𐀩fvl.

S𐀳v𐀁n pl𐀁𐀀sv𐀩s y𐀃v 𐀀s th𐀃vgh y𐀃v c𐀃vld f𐀀ll 𐀀𐀞rt 𐀂f h𐀁 v𐀁𐀩 𐀵 b𐀁 𐀵𐀃 𐀫vgh. Bvt 𐀂f y𐀃v g𐀪nd y𐀃vr h𐀂ps 𐀃r g𐀨b h𐀂s h𐀀𐀂r, h𐀁’ll g𐀃 𐀀 b𐀂t f𐀀s𐀳r.

H𐀁 l𐀁ts y𐀃v h𐀀v𐀁 c𐀃nt𐀫l, h𐀂s g𐀃𐀀l 𐀂s 𐀵 𐀔c𐀁 y𐀃v f𐀁𐀁l g𐀃𐀃d, 𐀰 vhy v𐀃vldn’t h𐀁 l𐀂s𐀳n 𐀵 y𐀃v?

D𐀁s𐀠𐀳 b𐀁𐀂ng f𐀃cv𐀮d 𐀃n y𐀃v, S𐀳v𐀁n v𐀃n’t h𐀁𐀯𐀲𐀳 𐀵 𐀔c𐀁 h𐀂m𐀮lf f𐀁𐀁l g𐀃𐀃d 𐀵𐀃. Vh𐀁th𐀁r 𐀂t’s v𐀂th h𐀂s h𐀀nd 𐀃r 𐀂vst hvm𐀠ng 𐀀t th𐀁 𐀔tt𐀩ss 𐀂n f𐀫nt 𐀃f h𐀂m.

H𐀁 𐀆f𐀂𐀛𐀳ly g𐀁ts pvssy drvnc, b𐀀bbl𐀂ng 𐀀s 𐀇𐀚s 𐀃n y𐀃v.

“S𐀃 p𐀩tty… 𐀰 p𐀩tty…”

I𐀀c𐀁, 𐀃n th𐀁 𐀃th𐀁r h𐀀nd, p𐀩f𐀁rs 𐀵 b𐀁 𐀀 b𐀂t 𐀪scy.

As mvch 𐀀s h𐀁 l𐀃v𐀁s p𐀪v𐀀𐀳 𐀗𐀕nts v𐀂th y𐀃v (l𐀂c𐀁 th𐀁 𐀃th𐀁r b𐀃ys), th𐀁 th𐀪ll 𐀃f g𐀁t𐀴ng c𐀀vght 𐀔c𐀁s 𐀂t 𐀗𐀩 𐀁xc𐀂𐀴ng f𐀃r h𐀂m.

H𐀁’ll 𐀀b𐀰lv𐀳ly 𐀁𐀀t y𐀃v 𐀃vt 𐀂n h𐀂s c𐀀r 𐀃r 𐀂n 𐀀n 𐀁mpty 𐀀ll𐀁yv𐀀y. All b𐀁c𐀀v𐀮 y𐀃v d𐀩s𐀮d vp p𐀩tty f𐀃r h𐀂m 𐀃r g𐀀v𐀁 h𐀂m th𐀀t 𐀟rf𐀁ct s𐀖l𐀁 𐀃f y𐀃vrs.

I𐀀c𐀁 l𐀂c𐀁s 𐀵 b𐀁 qv𐀂cc bvt 𐀁ff𐀂c𐀂𐀁nt v𐀂th y𐀃v, 𐀀t l𐀁𐀀st 𐀂n pvbl𐀂c.

I𐀀c𐀁 𐀯ncs 𐀵 h𐀂s c𐀚𐀁s 𐀀nd pvsh𐀁s y𐀃v 𐀀g𐀀𐀂nst th𐀁 b𐀪cc v𐀀ll. H𐀂s h𐀀nd s𐀲ys 𐀃n y𐀃vr s𐀵𐀔ch, 𐀔c𐀂ng sv𐀩 y𐀃v 𐀈n’t sc𐀨mbl𐀁 f𐀫m h𐀂s g𐀨sp.

H𐀁’d s𐀲rt sl𐀃v, 𐀂n𐀳n𐀴𐀃𐀙lly 𐀔c𐀂ng y𐀃v 𐀞𐀛c 𐀀b𐀃vt g𐀁t𐀴ng c𐀀vght, bvt 𐀀s h𐀁 g𐀁ts qv𐀂cc𐀁r, y𐀃v b𐀁c𐀃𐀕 𐀀 𐀗𐀀𐀛ng 𐀕ss 𐀀b𐀃v𐀁 h𐀂m.

I𐀀c𐀁 v𐀂ll s𐀖rc 𐀀s h𐀁 𐀔c𐀁s qv𐀂cc v𐀃rc 𐀃f y𐀃v, 𐀔c𐀂ng y𐀃v f𐀂𐀛sh qv𐀂cc𐀁r th𐀀n y𐀃v th𐀃vght 𐀡s𐀯bl𐀁.

“T𐀀n 𐀟rf𐀁c𐀲/𐀃, 𐀖 v𐀂𐀅… 𐀲n 𐀟rf𐀁c𐀲/𐀃 𐀞𐀨 mí…”

All 𐀃f th𐀁m l𐀃v𐀁 y𐀃v 𐀰 mvch, 𐀰 𐀰𐀕𐀴𐀕s 𐀀f𐀳r 𐀀 h𐀀rd 𐀅y, th𐀁y’ll 𐀁𐀀ch 𐀲c𐀁 tvrns 𐀔c𐀂ng y𐀃v f𐀁𐀁l g𐀃𐀃d.

S𐀳v𐀁n 𐀗st l𐀂c𐀁ly s𐀲rts, b𐀁𐀂ng th𐀀t h𐀁’s th𐀁 𐀗st g𐀁ntl𐀁. H𐀁’s 𐀀 g𐀃𐀃d v𐀀rm vp 𐀀nd h𐀁’s g𐀃𐀃d f𐀃r c𐀀l𐀖ng 𐀈vn v𐀂th𐀃vt 𐀀ctv𐀀lly s𐀵p𐀠ng. Bvt v𐀂th th𐀁 𐀃th𐀁r gvys th𐀁𐀩 𐀵𐀃, h𐀁 𐀆f𐀂𐀛𐀳ly 𐀂s b𐀁𐀂ng 𐀀 b𐀂t 𐀗𐀩 𐀀gg𐀩s𐀯v𐀁 𐀵 c𐀁𐀁p vp.

M𐀀rc 𐀀nd I𐀀c𐀁 v𐀂ll 𐀲c𐀁 th𐀁𐀂r tvrns, 𐀳𐀀𐀯ng 𐀀nd 𐀪l𐀂ng y𐀃v vp. Ivst b𐀁tv𐀁𐀁n th𐀃𐀮 tv𐀃 𐀀l𐀃𐀚, y𐀃vr 𐀡𐀯𐀴𐀃n 𐀂s c𐀃ns𐀲ntly ch𐀀ng𐀂ng, th𐀁𐀩’s 𐀜 ch𐀀nc𐀁 y𐀃v’𐀩 g𐀁t𐀴ng 𐀰𐀩 f𐀫m b𐀁𐀂ng stvcc 𐀂n 𐀃𐀚 pl𐀀c𐀁.

E𐀀ch 𐀃f th𐀁 b𐀃ys v𐀂ll 𐀔c𐀁 sv𐀩 y𐀃v f𐀁𐀁l g𐀃𐀃d, p𐀪𐀃𐀪𐀴z𐀂ng y𐀃v 𐀀b𐀃v𐀁 𐀀ll 𐀁l𐀮. Th𐀁y 𐀁v𐀁n 𐀗𐀛𐀵r 𐀁𐀀ch 𐀃th𐀁r th𐀫vgh th𐀁 𐀔ny 𐀖r𐀫rs l𐀂t𐀳𐀩d th𐀫vgh𐀃vt th𐀁 𐀀𐀞rt𐀕nt. Th𐀁y 𐀂vst v𐀀nt th𐀁𐀂r 𐀅rl𐀂ng 𐀵 f𐀁𐀁l g𐀃𐀃d <3

E𐀀ch v𐀂ll 𐀲c𐀁 th𐀁𐀂r 𐀴𐀕, 𐀃nly s𐀵p𐀠ng vh𐀁n y𐀃v’𐀩 𐀀n 𐀃v𐀁rs𐀴mvl𐀀𐀳d, cry𐀂ng 𐀕ss.

S𐀃ft c𐀂s𐀮s 𐀀nd cvddl𐀂ng 𐀆f𐀂𐀛𐀳ly 𐀁nsv𐀁 𐀀f𐀳rv𐀀rds.

“Ovr b𐀁𐀀v𐀴fvl 𐀅rl𐀂ng…”B𐀀𐀯l S𐀴tt - L𐀂ght𐀛ngf𐀀c𐀁

B𐀀𐀯l, th𐀁 𐀞th𐀁𐀴c, 𐀆s𐀟𐀨𐀳, 𐀡s𐀮s𐀯v𐀁 l𐀃𐀚r. H𐀁 v𐀂ll 𐀈 𐀀nyth𐀂ng f𐀃r y𐀃vr 𐀀t𐀳n𐀴𐀃n. H𐀁 v𐀂ll f𐀃ll𐀃v y𐀃vr 𐀁v𐀁ry 𐀃r𐀆r. Y𐀃v 𐀈n’t 𐀁v𐀁n h𐀀v𐀁 𐀵 𐀵vch h𐀂m, h𐀁’ll cvm 𐀂vst f𐀫m 𐀁𐀀𐀴ng y𐀃v 𐀃vt. H𐀁 l𐀃v𐀁s y𐀃v th𐀀t mvch.

B𐀀𐀯l 𐀂s 𐀀gg𐀩s𐀯v𐀁 𐀀s h𐀁 𐀁𐀀ts y𐀃v 𐀃vt, 𐀆s𐀟𐀨𐀳 𐀵 𐀔c𐀁 y𐀃v f𐀂𐀛sh. B𐀁c𐀀v𐀮 𐀂f y𐀃v f𐀂𐀛sh, y𐀃v’ll s𐀲y, 𐀆s𐀠𐀳 h𐀂s sc𐀀rs.

H𐀁 𐀗𐀀ns 𐀀nd vh𐀂m𐀟rs 𐀗𐀩 th𐀀n y𐀃v 𐀈 𐀀s y𐀃v pvll h𐀂m 𐀆𐀁𐀟r 𐀂n𐀵 y𐀃vr cvnt. H𐀂s h𐀀nds g𐀨ppl𐀁 𐀀t 𐀁v𐀁ry cvrv𐀁 𐀃f y𐀃vr b𐀃dy, 𐀆s𐀟𐀨𐀳 𐀵 𐀔c𐀁 sv𐀩 y𐀃v’𐀩 𐀩𐀀l, th𐀀t y𐀃v v𐀀nt h𐀂m.

Vhy v𐀃vld 𐀀ny𐀃𐀚 v𐀀nt 𐀀 𐀗ns𐀳r l𐀂c𐀁 h𐀂m? Ev𐀁n h𐀂s 𐀃vn g𐀂rlf𐀪𐀁nd ch𐀁𐀀𐀳d 𐀃n h𐀂m b𐀁f𐀃𐀩 h𐀂s 𐀀cc𐀂𐀆nt h𐀀p𐀟𐀚d.

As h𐀁 𐀲s𐀳s y𐀃v, h𐀁 𐀆s𐀟𐀨𐀳ly ch𐀀𐀮s y𐀃vr cl𐀂𐀔x.

H𐀁 𐀚𐀁ds y𐀃v 𐀵 f𐀁𐀁l g𐀃𐀃d. H𐀁 𐀚𐀁ds y𐀃v.

Vh𐀁n y𐀃vr l𐀁gs 𐀳n𐀮 𐀀𐀫vnd h𐀂s h𐀁𐀀d 𐀀nd y𐀃v s𐀲rt p𐀨𐀂𐀯ng h𐀂m, h𐀁 s𐀲rts cry𐀂ng 𐀀nd f𐀂𐀛sh𐀁s 𐀀s v𐀁ll, h𐀂s 𐀮𐀁d s𐀲𐀂𐀛ng th𐀁 fl𐀃𐀃r b𐀁l𐀃v h𐀂m.

H𐀂s h𐀁𐀀d f𐀀lls 𐀀g𐀀𐀂nst y𐀃vr 𐀂n𐀚r th𐀂gh 𐀀s h𐀂s 𐀳𐀀rs f𐀀ll f𐀀st. H𐀁 g𐀨bs 𐀀t y𐀃v h𐀀rshly, h𐀂s f𐀁𐀀r c𐀀v𐀯ng h𐀂s ch𐀁st 𐀵 𐀀ch𐀁.

“Im𐀰𐀰rry… s𐀲yv𐀂th𐀕pl𐀁𐀀𐀮…”An𐀮lm V𐀃g𐀁lv𐀁𐀂𐀆 - B𐀂g G𐀃ld B𐀪cc

An𐀮lm 𐀂s 𐀀 v𐀁𐀂r𐀈, 𐀀 b𐀂g h𐀃rny v𐀁𐀂r𐀈, l𐀁t’s g𐀁t th𐀀t 𐀃vt 𐀃f th𐀁 v𐀀y.

An𐀮lm v𐀂ll 𐀵vch y𐀃v 𐀀nd 𐀈 vh𐀀𐀳v𐀁r h𐀁 v𐀀nts vh𐀁𐀚v𐀁r h𐀁 v𐀀nts. Th𐀂s c𐀂ncy sv𐀂tch 𐀃f 𐀀 𐀔n v𐀂ll 𐀁𐀀t y𐀃v 𐀃vt 𐀂n 𐀀ny v𐀀y 𐀡s𐀯bl𐀁, 𐀀nd 𐀂t’s 𐀚v𐀁r 𐀯mpl𐀁.

P𐀁r h𐀂s 𐀩qv𐀁st, h𐀁 l𐀂𐀁s 𐀴𐀁d vp v𐀂th y𐀃v 𐀃v𐀁r h𐀂m. H𐀂s 𐀀rms 𐀀𐀩 c𐀃mpl𐀁𐀳ly 𐀩st𐀨𐀂𐀚d 𐀀s h𐀁 l𐀁ts y𐀃v c𐀃nt𐀫l th𐀁 𐀯tv𐀀𐀴𐀃n.

Y𐀃vr gl𐀂t𐀳𐀪ng h𐀁𐀀t flvt𐀳rs 𐀀s h𐀁 bl𐀃vs 𐀃n y𐀃v, s𐀖rc𐀂ng 𐀀t 𐀁v𐀁ry l𐀂ttl𐀁 𐀩𐀀c𐀴𐀃n y𐀃v h𐀀v𐀁. H𐀁 l𐀃v𐀁s y𐀃vr 𐀜𐀂𐀮s, 𐀁s𐀟c𐀂𐀀lly vh𐀁n y𐀃v’𐀩 l𐀃vd.

Ev𐀁ntv𐀀lly y𐀃v 𐀯t 𐀃n h𐀂s f𐀀c𐀁, 𐀀nd g𐀫𐀀𐀛ng h𐀀p𐀠ly, h𐀁 l𐀂ccs vp 𐀂n𐀵 y𐀃v.

Y𐀃vr h𐀂ps 𐀫cc b𐀀cc 𐀀nd f𐀃rth 𐀃n h𐀂s f𐀀c𐀁, h𐀂s 𐀜𐀮 h𐀂t𐀴ng y𐀃vr th𐀫bb𐀂ng cl𐀂t h𐀀rshly. Y𐀃v’𐀩 b𐀩𐀀th𐀂ng h𐀁𐀀v𐀂ly 𐀀s An𐀮lm 𐀁𐀀ts y𐀃v vp, h𐀂s b𐀁𐀀rd sc𐀨tch𐀂ng th𐀁 b𐀀cc 𐀃f y𐀃vr l𐀁gs 𐀀s y𐀃vr h𐀂ps 𐀗v𐀁.

D𐀁s𐀠𐀳 b𐀁𐀂ng svch 𐀀n 𐀃dd 𐀔n, h𐀁 𐀀b𐀰lv𐀳ly c𐀜vs vh𐀀t h𐀁’s 𐀈𐀂ng, l𐀂c𐀁— h𐀁’s 𐀁xt𐀩𐀕ly 𐀲l𐀁n𐀳d v𐀂th h𐀂s 𐀵ngv𐀁 𐀀l𐀃𐀚. V𐀂th 𐀁v𐀁ry sqv𐀂rm 𐀀nd 𐀜𐀂𐀮 y𐀃v 𐀔c𐀁, h𐀁’s v𐀀tch𐀂ng y𐀃v l𐀂c𐀁 𐀀 h𐀀vc.

Y𐀃vr h𐀂gh bv𐀂lds 𐀀nd c𐀃𐀕s c𐀨sh𐀂ng 𐀈vn qv𐀂ccly. Bvt vh𐀁n y𐀃v s𐀲rt 𐀵 𐀗v𐀁 𐀃ff, h𐀁 h𐀀rshly 𐀆𐀔nds y𐀃v g𐀁t b𐀀cc.

“V𐀁 𐀀𐀩n’t 𐀈𐀚 y𐀁t, 𐀈ll. If y𐀃v 𐀈n’t g𐀁t b𐀀cc 𐀃n, I’ll c𐀂ll my𐀮lf.” Blv𐀁 I𐀃𐀚s - Svcc𐀁r Pvnch

Blv𐀁 𐀈𐀁sn’t 𐀁𐀀t y𐀃v 𐀃vt f𐀃r y𐀃vr pl𐀁𐀀sv𐀩, 𐀜- 𐀂t’s 𐀵 p𐀫v𐀁 𐀀 𐀡𐀂nt.

H𐀁 𐀃vns y𐀃v, 𐀂vst l𐀂c𐀁 h𐀁 𐀃vns 𐀀ll th𐀁 𐀟𐀃pl𐀁 v𐀃rc𐀂ng f𐀃r h𐀂s clvb. And b𐀁c𐀀v𐀮 h𐀁 𐀃vns y𐀃v, h𐀁 h𐀀s 𐀵 𐀔c𐀁 sv𐀩 y𐀃v c𐀜v h𐀃v g𐀃𐀃d 𐀃nly h𐀁 c𐀀n 𐀔c𐀁 y𐀃v.

Y𐀃v v𐀁𐀩 𐀂n th𐀁 d𐀩s𐀯ng 𐀫𐀃m vh𐀁n h𐀁 𐀀pp𐀫𐀀ch𐀁d y𐀃v, h𐀂s 𐀁y𐀁s hvng𐀪ly sc𐀀n𐀛ng y𐀃vr b𐀃dy.

Vh𐀁th𐀁r 𐀃vt 𐀃f f𐀁𐀀r 𐀃r 𐀀tt𐀨c𐀴𐀃n, y𐀃v 𐀈 𐀁v𐀁ryth𐀂ng h𐀁 𐀀scs. S𐀃 vh𐀁n h𐀁 𐀀scs y𐀃v 𐀵 st𐀪p b𐀀𐀩, y𐀃v 𐀈 𐀁x𐀀ctly th𐀀t.

V𐀂th h𐀂s h𐀁𐀀d b𐀁tv𐀁𐀁n y𐀃vr th𐀂ghs, 𐀂t’s h𐀀rd 𐀵 𐀩𐀕mb𐀁r th𐀀t th𐀂s 𐀔n c𐀃vld c𐀂ll y𐀃v v𐀂th𐀃vt 𐀀 𐀮c𐀃nd th𐀃vght. H𐀁’s 𐀂vst 𐀵𐀃 𐀲l𐀁n𐀳d v𐀂th h𐀂s 𐀵ngv𐀁.

Rvn𐀛ng 𐀀 clvb h𐀀s 𐀂ts 𐀟rcs, 𐀂nclv𐀇ng h𐀀v𐀂ng l𐀃ts 𐀃f p𐀨c𐀴c𐀁 𐀂n 𐀔c𐀂ng 𐀃th𐀁rs f𐀁𐀁l g𐀃𐀃d. V𐀂th 𐀀ll th𐀂s p𐀨c𐀴c𐀁, th𐀂s 𐀔n v𐀂ll 𐀈 𐀀nyth𐀂ng 𐀵 𐀔c𐀁 y𐀃v sqv𐀂rt. H𐀁 𐀮𐀁s 𐀂t 𐀀s 𐀀 𐀯gn 𐀃f v𐀂c𐀵ry, th𐀀t h𐀂s 𐀵y l𐀂c𐀁s h𐀂m th𐀁 b𐀁st.

Y𐀃vr b𐀀cc 𐀂s 𐀀rch𐀂ng 𐀀s Blv𐀁 h𐀂ts y𐀃vr sv𐀁𐀁t s𐀡t. Y𐀃vr h𐀂ps l𐀂ghtly hvmp h𐀂s f𐀀c𐀁 𐀀nd 𐀜𐀮, ch𐀀𐀯ng y𐀃vr h𐀂gh. H𐀂s h𐀀nds g𐀪p y𐀃vr l𐀁gs, l𐀁t𐀴ng y𐀃v 𐀪𐀆 h𐀂s f𐀀c𐀁 𐀗𐀩 𐀀nd 𐀗𐀩.

Y𐀃v sqv𐀂rt 𐀀ll 𐀃v𐀁r h𐀂s f𐀀c𐀁, c𐀀v𐀯ng h𐀂m 𐀵 hvm 𐀂n 𐀀pp𐀫v𐀀l.

Vh𐀁n y𐀃v f𐀂𐀛sh, h𐀁 l𐀂ccs 𐀀 st𐀪𐀟 th𐀫vgh y𐀃vr 𐀀𐀫v𐀭l. Blv𐀁’s 𐀁y𐀁s 𐀕𐀁t y𐀃vrs.

“Bvnny, 𐀈 y𐀃v 𐀀ct l𐀂c𐀁 svch 𐀀 𐀆s𐀟𐀨𐀳 vh𐀃𐀩 v𐀂th 𐀀ll th𐀁 cl𐀂𐀁nts?” P𐀃𐀁 D𐀀𐀕𐀫n - S𐀲r V𐀀rs

L𐀃v𐀁r 𐀃f th𐀁 scy, P𐀃𐀁 𐀂s c𐀜vn f𐀃r b𐀁𐀂ng qv𐀂𐀳 fl𐀂rty. V𐀂th th𐀁 c𐀃ns𐀲nt t𐀨v𐀁l, P𐀃𐀁 h𐀀s h𐀀d h𐀂s sh𐀀𐀩 𐀃f h𐀃𐀃cvps 𐀀nd 𐀫𐀔n𐀴c 𐀞rt𐀚rs.

Vh𐀂ch 𐀂s vhy, 𐀃f c𐀃vr𐀮, P𐀃𐀁 v𐀃vld 𐀈 𐀀nyth𐀂ng 𐀵 𐀔c𐀁 y𐀃v f𐀁𐀁l 𐀀s mvch pl𐀁𐀀sv𐀩 𐀀s 𐀡s𐀯bl𐀁.

H𐀁’s c𐀃ccy, sv𐀩, bvt vh𐀁n h𐀁 b𐀨gs 𐀀b𐀃vt h𐀃v l𐀃vd h𐀁 𐀔c𐀁s y𐀃v sc𐀩𐀀m, y𐀃v c𐀜v 𐀂t’s th𐀁 trvth.

Af𐀳r 𐀀 l𐀃ng 𐀅y 𐀃f t𐀨v𐀁l, P𐀃𐀁 𐀂s cl𐀂ng𐀂ng 𐀵 y𐀃vr cvnt.

As h𐀂s 𐀵ngv𐀁 rvns l𐀀ps th𐀫vgh y𐀃vr f𐀃lds, y𐀃v 𐀴ghtly g𐀪p 𐀀t h𐀂s cvrls.

H𐀁’s 𐀀l𐀩𐀀dy 𐀔𐀆 y𐀃v f𐀂𐀛sh 𐀀t l𐀁𐀀st tv𐀂c𐀁, 𐀀nd h𐀁’s 𐀆s𐀟𐀨𐀳 f𐀃r 𐀀𐀜th𐀁r.

Y𐀃vr cvnt 𐀂s t𐀩mbl𐀂ng f𐀫m 𐀃v𐀁rs𐀴mvl𐀀𐀴𐀃n, b𐀫c𐀁n 𐀗𐀀ns 𐀁sc𐀀𐀠ng y𐀃vr l𐀂ps 𐀀s y𐀃v l𐀀z𐀂ly try 𐀵 pvll h𐀂m 𐀀v𐀀y.

V𐀂th 𐀁v𐀁ry f𐀀𐀂nt tvg 𐀃f h𐀂s h𐀀𐀂r, h𐀁 pvlls y𐀃vr b𐀃dy cl𐀃𐀮r 𐀵v𐀀rds h𐀂s 𐀗vth, 𐀜t l𐀁t𐀴ng y𐀃v 𐀁sc𐀀𐀟.

H𐀂s 𐀵ngv𐀁 c𐀂rcl𐀁s y𐀃vr cl𐀂t l𐀂c𐀁 𐀀 𐀆hyd𐀨𐀳d 𐀔n, v𐀀n𐀴ng y𐀃v 𐀵 𐀩l𐀁𐀀𐀮 𐀀nd g𐀂v𐀁 𐀁v𐀁ry d𐀫p 𐀃f y𐀃vr𐀮lf 𐀵 h𐀂m 𐀀g𐀀𐀂n 𐀀nd 𐀀g𐀀𐀂n.

Vh𐀁n P𐀃𐀁 g𐀁ts y𐀃v 𐀵 𐀩l𐀁𐀀𐀮 𐀃v𐀁r h𐀂s 𐀵ngv𐀁 𐀃nc𐀁 𐀗𐀩, h𐀁 𐀈𐀁sn’t b𐀀cc 𐀃ff, s𐀟𐀀c𐀂ng 𐀀s h𐀁 l𐀂ccs 𐀁v𐀁ry d𐀫p.

“Ivst 𐀃𐀚 𐀗𐀩… C𐀀n y𐀃v h𐀀ndl𐀁 𐀃𐀚 𐀗𐀩 f𐀃r 𐀕, b𐀀by?”N𐀀th𐀀n B𐀀𐀳𐀔n - Ex M𐀀ch𐀂𐀙

N𐀀th𐀀n 𐀈𐀁sn’t 𐀁𐀀t y𐀃v 𐀃vt 𐀜r𐀔lly, h𐀁 mvch p𐀩f𐀁rs v𐀯ng h𐀂s f𐀂ng𐀁rs 𐀂f h𐀁 h𐀀s 𐀵.

Th𐀂s 𐀔n p𐀩f𐀁rs 𐀔c𐀂ng h𐀂m𐀮lf f𐀁𐀁l g𐀃𐀃d 𐀀b𐀃v𐀁 𐀀ll 𐀁l𐀮, h𐀁 𐀃nly 𐀵l𐀁𐀨𐀳s 𐀔c𐀂ng y𐀃v f𐀁𐀁l g𐀃𐀃d. Vh𐀂ch 𐀂s vhy h𐀁 𐀀lv𐀀ys 𐀔c𐀁s y𐀃v f𐀂𐀛sh qv𐀂ccly 𐀃r 𐀰𐀕𐀴𐀕s 𐀜t 𐀀t 𐀀ll, 𐀗v𐀂ng 𐀃n 𐀵 𐀔c𐀁 sv𐀩 h𐀁 c𐀀n g𐀁t h𐀂s pl𐀁𐀀sv𐀩 f𐀫m th𐀂s 𐀁xch𐀀ng𐀁.

Th𐀁 𐀃nly 𐀴𐀕 h𐀁 h𐀀s 𐀁𐀀𐀳n y𐀃v 𐀃vt v𐀀s vh𐀁n h𐀁 v𐀀lc𐀁d 𐀂n 𐀃n y𐀃v h𐀀v𐀂ng 𐀀 v𐀁t d𐀩𐀀m, mvmbl𐀂ng h𐀂s 𐀙𐀕 𐀀s y𐀃vr l𐀁gs sp𐀩𐀀d vn𐀆r th𐀁 bl𐀀nc𐀁ts.

Y𐀃v v𐀀c𐀁 vp 𐀗𐀀𐀛ng l𐀃vdly, N𐀀th𐀀n tvcc𐀁d b𐀁tv𐀁𐀁n y𐀃vr th𐀂ghs, 𐀗vth 𐀵 y𐀃vr 𐀀ch𐀂ng c𐀃𐀩.

As h𐀁 h𐀂ts y𐀃vr sv𐀁𐀁t s𐀡t, y𐀃v 𐀂ns𐀴nc𐀴v𐀁ly g𐀨b h𐀂s h𐀁𐀀d. H𐀂s bvz𐀽d h𐀀𐀂r p𐀫v𐀂𐀆s 𐀜th𐀂ng 𐀵 g𐀪p 𐀵 𐀀s y𐀃vr h𐀂ps sl𐀁𐀁𐀠ly g𐀪nds h𐀂s f𐀀c𐀁.

Ev𐀁ryth𐀂ng f𐀁𐀁ls 𐀁xt𐀨 𐀮n𐀯𐀴v𐀁 𐀀nd g𐀃𐀃d, th𐀁 l𐀀cc 𐀃f p𐀩v𐀂𐀃vs p𐀪𐀃𐀪ty 𐀔c𐀂ng y𐀃v 𐀁xt𐀨 𐀚𐀁dy.

H𐀂s b𐀁𐀀rd p𐀫v𐀂𐀆s 𐀀 sc𐀨tchy 𐀀nd 𐀭𐀴sfy𐀂ng f𐀁𐀁l𐀂ng 𐀀s h𐀂s 𐀵ngv𐀁 l𐀀ps vp y𐀃vr 𐀰𐀀c𐀁d f𐀃lds.

H𐀁 𐀈𐀁sn’t 𐀁v𐀁n 𐀀cc𐀜vl𐀁dg𐀁 th𐀀t y𐀃v’v𐀁 𐀀v𐀃c𐀁n, 𐀜v 𐀃n 𐀀 𐀖s𐀯𐀃n 𐀵 𐀔c𐀁 y𐀃v f𐀂𐀛sh 𐀃n h𐀂s 𐀗vth.

H𐀂s h𐀀nds g𐀫𐀟 𐀀t y𐀃vr v𐀀𐀂st 𐀀nd 𐀀ss, g𐀪p𐀠ng 𐀀t 𐀀ll th𐀁 𐀰ft fl𐀁sh h𐀁 c𐀀n.

Vh𐀁n y𐀃v f𐀂𐀛sh v𐀂th t𐀩mbl𐀂ng l𐀁gs, h𐀁 l𐀂fts h𐀂s h𐀁𐀀d, h𐀂s b𐀁𐀀rd gl𐀂s𐀳𐀛ng 𐀂n y𐀃vr 𐀂v𐀂c𐀁s. H𐀂s h𐀀nd 𐀞lms 𐀃v𐀁r h𐀂s c𐀃cc 𐀀s h𐀁 𐀯ts 𐀃n h𐀂s c𐀚𐀁s 𐀀nd s𐀲𐀩s 𐀈vn 𐀀t y𐀃v.

“G𐀁t vp. It’s my tvrn.”Dvc𐀁 L𐀁𐀵 At𐀩𐀂𐀆s - Dv𐀚

L𐀁𐀵 𐀂s 𐀀 v𐀁ry bvsy 𐀔n, bvt h𐀁 𐀈𐀁s v𐀃rsh𐀂p y𐀃v vh𐀁n h𐀁 g𐀁ts th𐀁 ch𐀀nc𐀁.

C𐀃ns𐀲ntly b𐀁𐀂ng 𐀚𐀁𐀆d by 𐀁v𐀁ry𐀃𐀚, 𐀂t f𐀁𐀁ls 𐀛c𐀁 𐀵 𐀩l𐀀x 𐀀nd g𐀂v𐀁 h𐀂m𐀮lf 𐀵 th𐀁 𐀃𐀚 𐀟r𐀰n h𐀁 v𐀀nts 𐀵: y𐀃v.

Sv𐀩, 𐀰𐀕𐀴𐀕s y𐀃v’𐀩 vn𐀆r th𐀁 𐀲bl𐀁 𐀮rv𐀂c𐀂ng h𐀂m, bvt 𐀂t’s 𐀜t 𐀃f𐀳n h𐀁 g𐀁ts th𐀁 ch𐀀nc𐀁 𐀵 𐀈 th𐀁 𐀭𐀕 f𐀃r y𐀃v.

H𐀁’s 𐀃n h𐀂s c𐀚𐀁s, v𐀃rsh𐀂𐀠ng y𐀃vr pvssy l𐀂c𐀁 𐀂t 𐀂s 𐀀 𐀇v𐀂𐀚 g𐀃d. L𐀁𐀵 𐀂s p𐀨y𐀂ng 𐀵 y𐀃v v𐀂th h𐀂s 𐀵ngv𐀁.

L𐀁𐀵 𐀂s 𐀰 f𐀃cv𐀮d 𐀃n y𐀃v, h𐀁 c𐀀n’t 𐀁v𐀁n 𐀀cc𐀜vl𐀁dg𐀁 h𐀂s 𐀃vn pl𐀁𐀀sv𐀩 b𐀁f𐀃𐀩 h𐀁 c𐀜vs y𐀃v’v𐀁 h𐀀d 𐀰𐀕 𐀩l𐀁𐀀𐀮.

H𐀁 h𐀀s 𐀵 g𐀂v𐀁 h𐀂s b𐀀by 𐀰𐀕 𐀁xt𐀨 c𐀀𐀩 vh𐀂l𐀁 h𐀁 h𐀀s th𐀁 ch𐀀nc𐀁 <3

H𐀂s h𐀀nds 𐀵vch 𐀁v𐀁ry 𐀂nch th𐀀t h𐀁 c𐀀n, v𐀃rsh𐀂𐀠ng 𐀀ll 𐀃f y𐀃v th𐀀t h𐀁 c𐀀n.

L𐀁𐀵’s 𐀜𐀮 bvmps y𐀃vr cl𐀂t 𐀀s h𐀁 v𐀀tch𐀁s y𐀃v l𐀂c𐀁 p𐀩y, h𐀁 𐀂vst l𐀃v𐀁s y𐀃vr bl𐀂s𐀮d 𐀃vt 𐀁xp𐀩s𐀯𐀃n.

Vh𐀁n y𐀃v tv𐀃 𐀔c𐀁 𐀁y𐀁 c𐀃n𐀲ct, h𐀁 𐀔c𐀁s h𐀂s 𐀀s𐀭vlt th𐀀t mvch 𐀗𐀩 pl𐀁𐀀sv𐀨bl𐀁. Vh𐀁th𐀁r th𐀀t’s 𐀀d𐀇ng 𐀂n h𐀂s f𐀂ng𐀁rs 𐀃r 𐀩𐀀ch𐀂ng 𐀆𐀁p 𐀂n𐀵 y𐀃v v𐀂th h𐀂s 𐀵ngv𐀁. M𐀀n l𐀃v𐀁s h𐀂s 𐀁y𐀁 c𐀃n𐀲ct.

Vh𐀁n y𐀃v cl𐀂𐀔x, h𐀁’s s𐀖l𐀂ng 𐀀nd 𐀟p𐀟𐀪ng c𐀂s𐀮s 𐀃v𐀁r y𐀃vr 𐀂n𐀚r th𐀂ghs.

“I s𐀴ll h𐀀v𐀁 𐀴𐀕, sh𐀀ll v𐀁 g𐀃 f𐀃r 𐀀𐀜th𐀁r?” P𐀪nc𐀁 I𐀃hn - R𐀃b𐀂n H𐀃𐀃d (2010)

I𐀃hn 𐀂s 𐀀 𐀔n 𐀃f pl𐀁𐀀sv𐀩, 𐀀nd h𐀁 v𐀂ll 𐀆v𐀃vr y𐀃v 𐀀s l𐀃ng 𐀀s h𐀁 g𐀁ts 𐀰𐀕 𐀂n 𐀩tvrn. Ivst… 𐀚v𐀁r 𐀕n𐀴𐀃n y𐀃vr 𐀁x 𐀃r 𐀞st 𐀩l𐀀𐀴𐀃nsh𐀂ps, h𐀁 g𐀁ts 𐀂𐀁𐀀l𐀃vs.

H𐀁 l𐀃v𐀁s 𐀇ff𐀁𐀩nt 𐀡𐀯𐀴𐀃ns 𐀀nd 𐀁x𐀟𐀪𐀕n𐀴ng v𐀂th y𐀃v, 𐀀s l𐀃ng 𐀀s y𐀃v’𐀩 b𐀃th h𐀀v𐀂ng fvn 𐀃r 𐀀 g𐀃𐀃d 𐀴𐀕, th𐀁n h𐀁’s 𐀗𐀩 th𐀀n h𐀀ppy.

I𐀃hn, th𐀁 vh𐀂ny 𐀔n, 𐀂s b𐀁gg𐀂ng 𐀂n𐀵 y𐀃vr cvnt 𐀀s y𐀃v tv𐀃 𐀁𐀀t 𐀁𐀀ch 𐀃th𐀁r vp.

Y𐀃vr 𐀗vth 𐀂s v𐀨p𐀟d 𐀀𐀫vnd h𐀂s l𐀁ngth 𐀀s h𐀁 l𐀀ps vp y𐀃vr v𐀀rmth.

V𐀂th 𐀁𐀀ch st𐀫c𐀁 𐀃f y𐀃vr 𐀵ngv𐀁, h𐀁 𐀗v𐀁s h𐀂s 𐀂n 𐀲n𐀆m. Ev𐀁ry 𐀗𐀀n y𐀃v g𐀀𐀂n f𐀫m h𐀂m, v𐀃n𐀆rfvlly rvmbl𐀁s y𐀃vr pvssy.

H𐀂s h𐀀nds g𐀨sp 𐀀nd pvll y𐀃vr 𐀀ss ch𐀁𐀁cs, c𐀚𐀀𐀇ng th𐀁 𐀰ft fl𐀁sh.

I𐀃hn 𐀁𐀀ts y𐀃v l𐀂c𐀁 𐀀 s𐀲rv𐀁d 𐀔n, b𐀁c𐀀v𐀮 𐀆s𐀠𐀳 h𐀂s 𐀩g𐀀l s𐀲tvs, y𐀃v 𐀀𐀩 by f𐀀r th𐀁 b𐀁st 𐀕𐀀l h𐀁’s 𐀁𐀀𐀳n.

At l𐀁𐀀st th𐀀t’s vh𐀀t h𐀁’d b𐀁 𐀭y𐀂ng 𐀂f 𐀂t v𐀁𐀩n’t th𐀁 𐀁nd 𐀵 y𐀃vr gvys 𐀛ght 𐀃f pl𐀁𐀀sv𐀩, 𐀀nd I𐀃hn 𐀇dn’t 𐀚𐀁d 𐀀n h𐀁𐀂r.

H𐀁 p𐀫b𐀀bly 𐀂sn’t th𐀁 𐀗st th𐀪ll𐀁d 𐀵 b𐀁 𐀁𐀀𐀴ng h𐀂s 𐀀nd y𐀃vr cvm 𐀃vt 𐀃f y𐀃vr pvssy, bvt 𐀂t's y𐀃v, 𐀰 h𐀁 c𐀀n’t c𐀃mpl𐀀𐀂n.

T𐀃g𐀁th𐀁r, y𐀃v f𐀂𐀛sh 𐀀nd cl𐀁𐀀n 𐀁𐀀ch 𐀃th𐀁r 𐀃f 𐀁v����ry l𐀀st d𐀫p, l𐀁𐀀v𐀂ng b𐀃th 𐀃f y𐀃v 𐀁xh𐀀vs𐀳d.

I𐀃hn 𐀞ts h𐀂s sh𐀃vl𐀆r.

“C𐀃𐀕, 𐀩st y𐀃vr h𐀁𐀀d.” S𐀀n𐀴𐀀g𐀃 “P𐀃𐀟” G𐀀rc𐀂𐀀 - T𐀪pl𐀁 F𐀫n𐀴𐀁r

S𐀀n𐀴𐀀g𐀃 l𐀃v𐀁s 𐀵 𐀳𐀀𐀮 y𐀃v. N𐀃 𐀔t𐀳r th𐀁 𐀯tv𐀀𐀴𐀃n 𐀃r pl𐀀c𐀁, h𐀁 v𐀂ll 𐀁dg𐀁 y𐀃v vn𐀴l y𐀃v’𐀩 cry𐀂ng.

H𐀁 l𐀂c𐀁s 𐀮𐀁𐀂ng y𐀃v 𐀀s 𐀀 vh𐀂m𐀟𐀪ng 𐀕ss, b𐀁gg𐀂ng f𐀃r 𐀰𐀕 𐀩l𐀂𐀁f.

Y𐀃v v𐀁𐀩 𐀂vst 𐀃n th𐀁 cvsp 𐀃f f𐀂𐀛sh𐀂ng vh𐀁n S𐀀n𐀴𐀀g𐀃 pvll𐀁d 𐀀v𐀀y, v𐀀tch𐀂ng 𐀀s y𐀃v b𐀁gg𐀁d h𐀂m 𐀵 l𐀁t y𐀃v cvm.

H𐀁’d chvccl𐀁 𐀀nd h𐀃ld y𐀃vr h𐀀nds h𐀃s𐀲g𐀁, 𐀜t l𐀁t𐀴ng y𐀃v g𐀁t th𐀁 ch𐀀nc𐀁 𐀵 f𐀂𐀛sh vh𐀀t h𐀁 s𐀲r𐀳d.

As y𐀃v s𐀲rt 𐀵 c𐀃𐀕 𐀈vn f𐀫m y𐀃vr h𐀂gh, h𐀁’d g𐀃 b𐀀cc 𐀂n, l𐀂cc𐀂ng 𐀀nd 𐀁𐀀𐀴ng y𐀃vr cvnt 𐀃vt.

As y𐀃v sqv𐀂rm, ch𐀀𐀯ng y𐀃vr 𐀩l𐀁𐀀𐀮, h𐀁’d c𐀀g𐀁 y𐀃vr l𐀁gs 𐀂n pl𐀀c𐀁 v𐀂th h𐀂s 𐀀rms 𐀀nd h𐀀nds. Y𐀃v’𐀩 𐀜t 𐀀ll𐀃v𐀁d 𐀵 𐀁sc𐀀𐀟 h𐀂m 𐀃r h𐀂s c𐀃ns𐀲nt 𐀳𐀀𐀯ng.

Vh𐀁n h𐀁 f𐀂𐀙lly l𐀁ts y𐀃v f𐀂𐀛sh, y𐀃v’𐀩 𐀀 t𐀩mbl𐀂ng 𐀕ss, y𐀃vr h𐀃l𐀁 clvtch𐀂ng 𐀀t h𐀂s 𐀵ngv𐀁 𐀀s h𐀁 𐀁𐀀ts 𐀁v𐀁ry l𐀀st d𐀫p.

“Y𐀃v’𐀩 𐀰 cv𐀳 l𐀂c𐀁 th𐀂s… 𐀔yb𐀁 I sh𐀃vld g𐀃 𐀀g𐀀𐀂n?”

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Th𐀀ncs f𐀃r 𐀩𐀀𐀇ng!

Lmc 𐀂f y𐀃v v𐀀nt 𐀕 𐀵 𐀀dd 𐀗𐀩 𐀃f h𐀂s ch𐀀𐀨c𐀳rs 𐀃r 𐀈 𐀀 𐀇ff𐀁𐀩nt 𐀮t 𐀃f ch𐀀𐀨c𐀳rs (l𐀂c𐀁 G𐀁nsh𐀂n 𐀕n f𐀃r 𐀁x.) \FF

Oscar Isaac Characters Eating You Out

Minors DNI

Featured Characters: Miguel O’Hara, Moon Knight System, Basil Stitt, Anselm Vogelweide, Blue Jones, Poe Dameron, Nathan Bateman, Duke Leto Atreides, Prince John, Santiago “Pope” Garcia x afab!reader (Pronouns and descriptions aren’t used for the reader)

CW: SMUT (did you look at the title?), pet names, slight size difference, fingering, face riding, mention of periods, slapping, toys, anal, dub-con, sub and dom roles, squirting, overstim/crying, untranslated Spanish, and possibly some other things (All are just brief mentions)

These are just some short, dumb little rambles/headcannons of mine, so it’s not written the best. Not proofread or heavily edited.

(Lmk if you want more in the future)

Miguel O’Hara - Across the Spiderverse

Miguel is a tired man, always overworking himself with the Spider Society. All because he’s extremely thorough, never leaving something to be completed at a later date. Because of this, it’s not often he gets the chance to destress.

So, when it comes time to pleasure, he’s just as thorough. Miguel makes sure you feel just as much pleasure as he does.

Of course, because of his lack of free time, Miguel doesn’t care where or when it happens, he’s eating you out.

You’re in his office? Bend over.

You’re on your period? I guess he’s not beating the vampire allegations.

Pick a time or a place, he’s there, willing to thoroughly please you in whatever way he can.

Miguel is on his knees with your legs over his shoulders. His claws gently pricking at the soft of your thighs as he holds you still.

If you squirm too much, he is glaring at you from overtop your heat, pinning you in place with one of his massive hands.

His tongue runs laps in your cunt, teasing your clit and slurping you up. He’s eating you like a starved man, letting out small growls every now and again.

Miguel will refuse to touch himself until you’ve climaxed multiple times. He has the stamina to keep going for hours, and this is just a warm up for him. Besides, he’d rather see either of your pretty lips wrapped around his length over his hand.

When you’re a trembling, sopping mess underneath him, he’ll finally stop. His lower face is shiny as he licks his lips and hungrily smirks at you.

“Don’t think this is over, mi amor. This is just the beginning…”

Marc Spector / Steven Grant / Jake Lockley - Moon Knight

Marc wants you to feel as much pleasure as possible, because while he denies it, a part of him is a people pleaser. He always puts his partners above himself, including during intimate moments.

Marc is experienced and he will take the time to know what you like. Marc practically memorizes your body and what gets you riled up. But if he has the choice, he has you on your knees as he eats you out from behind.

Marc has you bent over as his tongue hits that perfect spot, causing you to tremble and moan in pleasure.

He loves seeing you grasp the sheets as you bury your face in your pillow, to him it’s a sign of validation, evidence that he’s making you feel good.

His hands grab at your thighs and ass as he goes to town. If he feels you try to pull away, he’ll swat your rear until you stay still.

When his mouth starts to ache, Marc will pull up and insert his fingers instead. He’ll move them in the way that has your toes curling and has muffled screams coming from your pillow.

Of course though, he finishes the job with his mouth back on you, drinking up every ounce you give him. He’ll lick his lips clean and kiss your cunt in praise.

“You did so good for me, darling…”

Steven is the most insecure of the boys. He never had the chance to date before, so he’s always worried about making you feel good. He especially worries when he hears how Marc talks about your guys' time together. Steven wants to make you feel just as good.

But Steven isn’t as affirmative as Marc or Jake.

Steven will keep you on your back, his hands feeling his favorite parts of your body. He loves to caress you.

Steven likes to be thorough but also to go slow. He wants you to feel every little moment he makes.

His tongue hits the spots you love, but it’s methodical, careful.

Steven pleasures you as though you could fall apart if he were to be too rough. But if you grind your hips or grab his hair, he’ll go a bit faster.

He lets you have control, his goal is to make you feel good, so why wouldn’t he listen to you?

Despite being focused on you, Steven won’t hesitate to make himself feel good too. Whether it’s with his hand or just humping at the mattress in front of him.

He definitely gets pussy drunk, babbling as dines on you.

“So pretty… so pretty…”

Jake, on the other hand, prefers to be a bit risky.

As much as he loves private moments with you (like the other boys), the thrill of getting caught makes it more exciting for him.

He’ll absolutely eat you out in his car or in an empty alleyway. All because you dressed up pretty for him or gave him that perfect smile of yours.

Jake likes to be quick but efficient with you, at least in public.

Jake sinks to his knees and pushes you against the brick wall. His hand stays on your stomach, making sure you don’t scramble from his grasp.

He’d start slow, intentionally making you panic about getting caught, but as he gets quicker, you become a moaning mess above him.

Jake will smirk as he makes quick work of you, making you finish quicker than you thought possible.

“Tan perfecta/o, mi vida… tan perfecta/o para mí…”

All of them love you so much, so sometimes after a hard day, they’ll each take turns making you feel good.

Steven most likely starts, being that he’s the most gentle. He’s a good warm up and he’s good for calming down without actually stopping. But with the other guys there too, he definitely is being a bit more aggressive to keep up.

Marc and Jake will take their turns, teasing and riling you up. Just between those two alone, your position is constantly changing, there’s no chance you’re getting sore from being stuck in one place.

Each of the boys will make sure you feel good, prioritizing you above all else. They even monitor each other through the many mirrors littered throughout the apartment. They just want their darling to feel good <3

Each will take their time, only stopping when you’re an overstimulated, crying mess.

Soft kisses and cuddling definitely ensue afterwards.

“Our beautiful darling…”

Basil Stitt - Lightningface

Basil, the pathetic, desperate, possessive loner. He will do anything for your attention. He will follow your every order. You don’t even have to touch him, he’ll cum just from eating you out. He loves you that much.

Basil is aggressive as he eats you out, desperate to make you finish. Because if you finish, you’ll stay, despite his scars.

He moans and whimpers more than you do as you pull him deeper into your cunt. His hands grapple at every curve of your body, desperate to make sure you’re real, that you want him.

Why would anyone want a monster like him? Even his own girlfriend cheated on him before his accident happened.

As he tastes you, he desperately chases your climax.

He needs you to feel good. He needs you.

When your legs tense around his head and you start praising him, he starts crying and finishes as well, his seed staining the floor below him.

His head falls against your inner thigh as his tears fall fast. He grabs at you harshly, his fear causing his chest to ache.

“Imsosorry… staywithmeplease…”

Anselm Vogelweide - Big Gold Brick

Anselm is a weirdo, a big horny weirdo, let’s get that out of the way.

Anselm will touch you and do whatever he wants whenever he wants. This kinky switch of a man will eat you out in any way possible, and it’s never simple.

Per his request, he lies tied up with you over him. His arms are completely restrained as he lets you control the situation.

Your glittering heat flutters as he blows on you, smirking at every little reaction you have. He loves your noises, especially when you’re loud.

Eventually you sit on his face, and groaning happily, he licks up into you.

Your hips rock back and forth on his face, his nose hitting your throbbing clit harshly. You’re breathing heavily as Anselm eats you up, his beard scratching the back of your legs as your hips move.

Despite being such an odd man, he absolutely knows what he’s doing, like— he’s extremely talented with his tongue alone. With every squirm and noise you make, he’s watching you like a hawk.

Your high builds and comes crashing down quickly. But when you start to move off, he harshly demands you get back.

“We aren’t done yet, doll. If you don’t get back on, I’ll kill myself.”

Blue Jones - Sucker Punch

Blue doesn’t eat you out for your pleasure, no- it’s to prove a point.

He owns you, just like he owns all the people working for his club. And because he owns you, he has to make sure you know how good only he can make you.

You were in the dressing room when he approached you, his eyes hungrily scanning your body.

Whether out of fear or attraction, you do everything he asks. So when he asks you to strip bare, you do exactly that.

With his head between your thighs, it’s hard to remember that this man could kill you without a second thought. He’s just too talented with his tongue.

Running a club has its perks, including having lots of practice in making others feel good. With all this practice, this man will do anything to make you squirt. He sees it as a sign of victory, that his toy likes him the best.

Your back is arching as Blue hits your sweet spot. Your hips lightly hump his face and nose, chasing your high. His hands grip your legs, letting you ride his face more and more.

You squirt all over his face, causing him to hum in approval.

When you finish, he licks a stripe through your arousal. Blue’s eyes meet yours.

“Bunny, do you act like such a desperate whore with all the clients?”

Poe Dameron - Star Wars

Lover of the sky, Poe is known for being quite flirty. With the constant travel, Poe has had his share of hookups and romantic partners.

Which is why, of course, Poe would do anything to make you feel as much pleasure as possible.

He’s cocky, sure, but when he brags about how loud he makes you scream, you know it’s the truth.

After a long day of travel, Poe is clinging to your cunt.

As his tongue runs laps through your folds, you tightly grip at his curls.

He’s already made you finish at least twice, and he’s desperate for another.

Your cunt is trembling from overstimulation, broken moans escaping your lips as you lazily try to pull him away.

With every faint tug of his hair, he pulls your body closer towards his mouth, not letting you escape.

His tongue circles your clit like a dehydrated man, wanting you to release and give every drop of yourself to him again and again.

When Poe gets you to release over his tongue once more, he doesn’t back off, speaking as he licks every drop.

“Just one more… Can you handle one more for me, baby?”

Nathan Bateman - Ex Machina

Nathan doesn’t eat you out normally, he much prefers using his fingers if he has to.

This man prefers making himself feel good above all else, he only tolerates making you feel good. Which is why he always makes you finish quickly or sometimes not at all, moving on to make sure he can get his pleasure from this exchange.

The only time he has eaten you out was when he walked in on you having a wet dream, mumbling his name as your legs spread under the blankets.

You wake up moaning loudly, Nathan tucked between your thighs, mouth to your aching core.

As he hits your sweet spot, you instinctively grab his head. His buzzed hair provides nothing to grip to as your hips sleepily grinds his face.

Everything feels extra sensitive and good, the lack of previous priority making you extra needy.

His beard provides a scratchy and satisfying feeling as his tongue laps up your soaked folds.

He doesn’t even acknowledge that you’ve awoken, now on a mission to make you finish on his mouth.

His hands grope at your waist and ass, gripping at all the soft flesh he can.

When you finish with trembling legs, he lifts his head, his beard glistening in your juices. His hand palms over his cock as he sits on his knees and stares down at you.

“Get up. It’s my turn.”

Duke Leto Atreides - Dune

Leto is a very busy man, but he does worship you when he gets the chance.

Constantly being needed by everyone, it feels nice to relax and give himself to the one person he wants to: you.

Sure, sometimes you’re under the table servicing him, but it’s not often he gets the chance to do the same for you.

He’s on his knees, worshiping your pussy like it is a divine god. Leto is praying to you with his tongue.

Leto is so focused on you, he can’t even acknowledge his own pleasure before he knows you’ve had some release.

He has to give his baby some extra care while he has the chance <3

His hands touch every inch that he can, worshiping all of you that he can.

Leto’s nose bumps your clit as he watches you like prey, he just loves your blissed out expression.

When you two make eye contact, he makes his assault that much more pleasurable. Whether that’s adding in his fingers or reaching deep into you with his tongue. Man loves his eye contact.

When you climax, he’s smiling and peppering kisses over your inner thighs.

“I still have time, shall we go for another?”

Prince John - Robin Hood (2010)

John is a man of pleasure, and he will devour you as long as he gets some in return. Just… never mention your ex or past relationships, he gets jealous.

He loves different positions and experimenting with you, as long as you’re both having fun or a good time, then he’s more than happy.

John, the whiny man, is begging into your cunt as you two eat each other up.

Your mouth is wrapped around his length as he laps up your warmth.

With each stroke of your tongue, he moves his in tandem. Every moan you gain from him, wonderfully rumbles your pussy.

His hands grasp and pull your ass cheeks, kneading the soft flesh.

John eats you like a starved man, because despite his regal status, you are by far the best meal he’s eaten.

At least that’s what he’d be saying if it weren’t the end to your guys night of pleasure, and John didn’t need an heir.

He probably isn’t the most thrilled to be eating his and your cum out of your pussy, but it's you, so he can’t complain.

Together, you finish and clean each other of every last drop, leaving both of you exhausted.

John pats his shoulder.

“Come, rest your head.”

Santiago “Pope” Garcia - Triple Frontier

Santiago loves to tease you. No matter the situation or place, he will edge you until you’re crying.

He likes seeing you as a whimpering mess, begging for some relief.

You were just on the cusp of finishing when Santiago pulled away, watching as you begged him to let you cum.

He’d chuckle and hold your hands hostage, not letting you get the chance to finish what he started.

As you start to come down from your high, he’d go back in, licking and eating your cunt out.

As you squirm, chasing your release, he’d cage your legs in place with his arms and hands. You’re not allowed to escape him or his constant teasing.

When he finally lets you finish, you’re a trembling mess, your hole clutching at his tongue as he eats every last drop.

“You’re so cute like this… maybe I should go again?”

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Thanks for reading!

Lmk if you want me to add more of his characters or do a different set of characters (like Genshin men for ex.)

[pad-wubbo]

github.com/wubmush/randmon

Generates infinite hypothetical Pokémon as text descriptions, with types, abilities, unfitting "names", colours, stats and dex entries! Then you can perhaps try drawing the Pokémon you imagine from the text.

[less-dev]

We're making a Starbound/Terraria inspired space sandbox game!

We're making a 2D sandbox game similar to Starbound! Or uh, terraria in space.

#nodev contains shitposting

#planetarium contains dev progress

Specifics under the cut

Who are you?

Aspen - Project Lead, Programmer, Pixel artist, Sound Designer.

Hey! I'm Aspen, I've been programming and making games for many many years in basically every engine there is... But never felt the drive to finish one, until now! I consider myself very experienced in the engine we're using (Gamemaker Studio 2.5) and have confidence we'll be able to make this game a reality. I also run the Tumblr account, so assume it's me behind the wheel as a default. Thank you for checking the game out!

Alec - Concept artist, Character Designer

H a l l o I'm Alec, I like writing and drawing and painting and designing shiiiiiiiit. I adore world building and have frequent bursts of creative possession in which I conceive and birth the greatest ideas and concepts in a mere moment. Otherwise, I can be a total dumbass and completely useless. I'm good at colours 👌 I have been a 85% a home-brew DM for about 2 years now and that is the greatest proof of my ADHD-given God powers of creativity. Slay.

What a cool guy!

Design pillars

Immersion. Above all else, I would like roleplay (casual or serious) to be natural and well supported. I would like players to find engaging with the world, and it's characters to be very personal.

Innovation. Tropes such as "You spawn in a green forest and can walk left or right" will be actively avoided. Biomes will have generation that presents more unique movement opportunities. Such as geysers in rock pools launching players high up, or giant twisting vines that hold up chunks of land to hop between.

More quality less quantity. Planets will be significantly more content-dense than Starbound, and perhaps controversially travel between them will be more difficult/expensive as well. This would encourage players to take advantage of all the resources presented on each planet, instead of hopping from one to the next. This would also encourage us throughout development to give each planet as much love as possible. Each planet should feel like a 'miniature terraria world'. Though actually achieving that is easier said than done.

Meaningful content. Procedurally generating creatures from 100 different pre-set monster parts could technically produce limitless alien creatures for players to encounter. But in both No Man's Sky and Starbound. I find this novelty to wear off quick, these creatures are not manually, meaningfully crafted and beyond an unusual appearance and some shallow gameplay changes... They do not create much of a memorable experience for the player. In my opinion, anyway. I would rather hand-craft every creature and make them all significantly unique and interesting. That's not to say procedurally generated creatures won't ever have a place in the game, but they certainly wont be as prevalent as others games.

Okay well... What's finished?

Fundamental lighting shaders akin to Starbound.

Some world generation brushes and basic commands.

A text mark-up language (heavily optimised), and game chat.

Extensive custom debugging tools

Hard and soft-loading of chunks to save on as much memory and CPU usage as possible.

Complete unloading, and compression of chunks on top of the previously mentioned system. As well as a live-saving system.

Setting, Story baseline, and conceptualization of the first 3 playable species. Each species will have a different starting planet, and immediately different playthrough.

Designs and cultures of several additional unplayable races.

Character proportion tests, sprites and sketches.

First-pass on collision functions.

Weighted Tile variance and tile connections.

CONCERNS

Multiplayer. While I have made an online multiplayer game before and it's definitely doable for this game, it would require some practice in a one-off test game to be fully confident. It would also take a LOT of time.

Modding. As far as I know gamemaker games are notoriously difficult for players to modify. Something like Unity is far easier even without mod support. Gamemaker on the other hand is difficult even if I want to design systems in favor of modders. This is kind of a problem for later, I have faith there'll be something we can do to make it work... But a cursory look says it won't be easy. I would be extremely disappointed if there was nothing we could do.

[weirderscience]

fedi sites that i recc you go to because they're in my bubble and im hesitant to recc any without vetting them first. if youre interested in fedi, take a look at an instances about page(s) and rules before you choose to make an account there

(don't know what fedi is? watch this video!)

sharkey instances

lethallava.land - gaming, tech, shitposting | sister of wetdry blahaj.zone - general lgbt

mastodon instances

tech.lgbt - queer friendly, tech focused wetdry.world - gaming, tech, shitposting | sister of lethallava, runs on glitchsoc fork called chuckya. limited signup that needs mod approval

wafrn

app.wafrn.net - potential tumblr clone, in alpha, works best on web mobile. pretty active but limited features as of time im writing this. limited signup that needs mod approval

akkoma instances

void.lgbt - lgbt general, good moderation procedures, allows tagged nsfw akko.wetdry.world - gaming, tech, shitposting | akkoma frontend for wetdry.world, limited signup that needs mod approval seafoam.space - general

generally i would avoid any instance that says outright that its fandom focused or anti-censorship as they tend to federate with unsavory corners of the internet. be wary!

more info below on fedi stuff you should be aware of

bc of the nature of fediverse it's up to admins to choose if an instance is defederated with (blocked by) theirs- theres no way to get bad parts of the fediverse "taken down" unless they host illegal content in their host country (and even then cybercrime divisions are usually only focused on seizing specific types of illegal sites). so with that in mind a good admin/mod team will defederate a lot of instances for you, and you can usually find out which instances are defederated on an instances about page.

also because of the nature of fediverse you can always move your account to another instance. if you feel you want to move to another instance for whatever reason youre within your right. some people will register with multiple instances just in case something goes awry with their main, or for diff types of posting- ie like sideblogs on tumblr. its normal and a sign you know how things work there imo

and if youre particularly crafty, or just know more about web stuff than the average person, you are totally able to set up whichever type of instance you want if you have a domain for it

[ivycrowned]

hello! i saw your post about terry pratchett being very comforting even while the world burns and it really spoke to me. (um i saw the post here--ivycrowned/737425041001709568/the-older-i-get-and-the-more-on-fire-the-world) i'm sorry to disturb you, and please feel free to ignore, i wouldn't want to impose, but i was wondering if you'd have any Discworld book recommendation for someone who has never read one. i'm always staring at them in the bookstore, but i always overthink which book to get (because it will be my first) and online articles rank Discworld books differently. i'd be so thankful if you do answer. thank you and have a great day :)

Oh I'm super happy to help with that! In a lot of ways, which Discworld book you read first depends on what you find most interesting! I'll fully admit though, the very first one I read was 'Hogfather' which is neither a stand alone, nor the 'first' in a series. So here are a few reccs for what I think would be good places to start!

Wyrd Sisters -- The start of the Witches series, which is one of my favorites! This is Hamlet in Discworld. There's a particular scene involving Death that actually made me cry with laughter. This book is ALSO the source of something you may have seen in tumblr shitposts -- '"Come hither, fool!' / The fool jangled miserably across the floor'.

Mort -- The first book in the 'Death' series, my beloved series. A young man becomes Death's apprentice. The 'Death' series in general tends to have the theme of a 'Death' who loves humans and wants to be more like them, but fundamentally does not really understand how.

Monstrous Regiment -- This one is a stand alone book! No series attached! A young woman pretends to be a man in order to join the army, so she can find her brother! Only to discover she's not the only one in her regiment pretending to be a man.

Guards! Guards! -- The first book in the 'Night Watch' series, and generally where most people suggest you start. It's about a dragon, and it's a bit of a police procedural! All the Night Watch books are more or less in the police procedural genre. I've only read the first two in this series.

I hope one of these works for you! And good luck on your journey! Discworld is a lot of fun, and has some pretty good audiobooks, and even a couple of film (live action, and animated) adaptations!

(You can find 'Hogfather' in its entirety for free on YouTube last time I checked!)

[teslacoils-and-hubris]

it’s because colorism/general racism/white supremacy shit says that brown eyes are dirty and unclean while blue eyes are pure and beautiful. we have brown eyes and we’ve always felt insecure about them because of this. on a simular note, people always say blue eyes are scary while brown eyes are sweet and doelike. no our eyes are scary too because we just stare directly at people -tf2heritageposts

oh no absolutely I get that there's a racist societal aspect to it, but for a procedure that is really dangerous and doesn't even seem to give reliably good results it just doesn't seem worth it. especially when all of the risks are like you will just straight up loose your vision

but it was ultimately a two second shitpost lol

[auroroboros1]

[sburbian-sage]

I managed to make the Art Attack from Terraria's Calamity mod, and the way that weapon works in that game is that you draw a shape with your mouse cursor, and anything inside the shape gets hurt.

But in Sburb, you don't really have a mouse cursor. So instead, using it causes this disorienting as fuck out-of-body experience, where you view yourself from a huge distance, and the world as if it were a 2-d plane, with even distant enemies and players shoved forward to look like they're in the foreground, and it draws wherever you focus while that's happening.

Kinda neat. Can hit things that are really far away with it, and that weird visual viewpoint lets me see lit areas below and above me, which I was able to use in a dungeon once to find a secret room.

So, two questions for you:

1: Are there any other uses for it that I'm not thinking of?

2: What other examples have you heard of Sburb translating weird mechanics like that into reality?

Scouting seems to be the main thing I would use this for. Especially because this apparently lets you view things through walls? Good for sneaking as well, peering around corners. Be careful though, I can only imagine something sideways happens, your perspective clips through (or into) a wall, and you either see something you shouldn't have or just begin throwing up.

I honestly think dicekind is my go-to example of "weird translation of mechanics". First of all it isn't even "roll to perform action" or "roll to see damage number" like what most people think of when they think RPG dice-rolling, it's "roll on a table". And then it seems like the table is in some way procedurally generated, seeing as how it alters itself based on dice size, dice number, and it factors in alchemy. And the procedurally generated tables were alternately written by a Killer GM, a Monty Haul GM, and a shitposter. I don't fully understand it, I don't want to understand it, and everyone who's tried cracking the code ends up having their brain broken with alarming frequency. It's like an occupational hazard, like hatters also going insane, or mine field testers not having legs. I also don't like thinking about cardkind when it comes to competitive/collectible card games because it's exactly the same, except I don't even understand CCGs when they're not magical.

[nanyabissnessblog]

I found this game because of this shitpost

Wow! This classic Bionicle commercial is just as epic as I remember

[cinema-hallucinations]

Prompt: Create a movie concept for a murder mystery occurring on the set of a reality tv show. Every action leading to the victim's (seemingly accidental) death has been recorded, but the footage remains ambiguous enough that all the contestants are potential culprits.

Title: Unscripted

Tagline: Frame by frame, she'll expose the truth.

Logline: The shocking death of "Survival Island's" flamboyant host, Cameron Thorne, during a live broadcast throws the show into chaos. Detective Riley Moore delves into the world of reality TV manipulation, deciphering a web of online hate, contestant rivalries, and hidden agendas to find the killer who turned a staged stunt into a deadly reality.

Characters:

Detective Riley Moore (40s): A tech-savvy and tenacious detective with a low tolerance for nonsense. She navigates the social media storm surrounding Cameron's death and distrusts the show's overproduced drama.

The Contestants: A mix of personalities vying for victory - a wilderness survival expert, a social media influencer with a loyal following, and a quiet loner with a knack for engineering.

Veronica Thorne (40s): Cameron's ex-wife, a savvy businesswoman and co-producer of "Survival Island." She's cunning and harbors a hidden resentment towards Cameron.

Cameron Thorne (Victim, 50s): The show's flamboyant and controversial host, known for pushing contestants to their limits. His on-camera demise ignites a media frenzy.

Plot Summary:

The dramatic climax of "Survival Island" features a staged escape from a crocodile enclosure. Cameron Thorne, the show's flamboyant host, is lowered into the dangerous area, microphone strapped on, promising viewers an adrenaline rush. Millions watch live as something goes terribly wrong. The camera captures Cameron's panicked screams before going dark. Technical difficulties, the show claims. But the internet explodes with speculation and accusations.

Detective Moore is called in to investigate what appears to be a tragic accident on live television. However, she quickly discovers inconsistencies in the footage and dives deep into the online world surrounding the show. A sea of #RIPCameron tributes hides a dark undercurrent – online hate messages, leaked emails exposing contestant rigging, and veiled threats directed at the host.

The contestants, each with their own ambitions and grievances, become prime suspects. The wilderness expert, known for his competitive edge, had a heated argument with Cameron before the stunt. The social media influencer, desperate for a win, may have seen Cameron as an obstacle. The loner, with his technical skills, could have easily rigged the escape mechanism.

Twists and Turns:

Viral Clues: Detective Moore follows cryptic messages hidden in contestant confessionals and social media posts, searching for clues amidst the carefully curated online personas.

The Ex-Factor: Veronica, Cameron's ex-wife and co-producer, provides a complex alibi and displays a suspicious interest in the show's insurance payout. Did their bitter divorce lead to a deadly plot?

The Power of the Edit: The show's editing team becomes a key source of information, revealing deleted scenes and hidden conversations that paint a different picture of Cameron's relationship with the contestants.

Climax:

With the pressure mounting and online speculation reaching a fever pitch, Detective Moore uncovers a hidden message embedded in the scrambled footage of Cameron's death. Using her tech skills and knowledge of social media, she deciphers the message, leading to the shocking revelation of the true culprit and their meticulously planned "accident."

Themes:

The dark side of reality TV: The film exposes the ruthless manipulation and exploitation that occur behind the scenes of reality shows, where the line between staged drama and genuine danger blurs.

The power of social media: The film explores how social media amplifies public opinion and can be used to fuel outrage and even violence.

The cost of fame: Cameron's death becomes a cautionary tale about the relentless pursuit of fame and the sacrifices it can demand.

Ending:

The true killer is apprehended, their carefully crafted facade shattered. The show is cancelled, leaving a stain on its reputation. In the final scene, Detective Moore scrolls through the now-silenced #RIPCameron hashtag, a reminder of the fleeting nature of online fame and the devastating consequences of manipulation.

[katarh-mest]

You're correct, this won't stop procedurally generated production assistance in movies, art, or writing.

But we already have that in movies, art, and writing - the difference is that when a human writer uses Microsoft Word to do a spelling and grammar check and gets some suggestions for word usage ala Clippy, "It looks like you are trying to do formal writing, maybe you want to use this other phrase instead?" the human being is still involved in the process and choosing to accept the change. When an artist is retouching a digital piece in Photoshop and uses the self-healing tool to fix a scratch in the photo, the artist is still choosing to apply that specific technique.

Auto-tune has been used for decades in music. A human is still singing, but the computer corrects the pitch so that it sounds a little bit cleaner.

We want real artists and writers and voice actors to get paid for their work. That's what we want. As long as a human is involved in the process and they get credited and paid for it, it can be retouched.

I'm anti-AI because it steals credit - and therefore compensation - from the actual human beings still involved in the process.

I think Midjourney is great for making shitpost images. It lacks the charm of MS Paint but sometimes you just want a funny illustration to share with a friend. You're not trying to make a cartoon for the New Yorker.

I do not think someone feeding a paragraph of text into Midjourney deserves to be able to sell that image on Adobe Stock as if they were a real photographer.

And I do not think that someone who is trying to make money off of writing, or publish a science paper, should even think about using AI instead of paying a proper artist for illustrations or cover art. (Disclaimer: I designed the cover art for my own lone novel; I paid a lot of money for the publishable rights to the stock photo I used, and then did the cover text design myself because I know my way around Photoshop!)

I think AI assisted writing can help prevent simple spelling and grammar errors. Maybe it can help you find a word that rhymes with "vinegar."

But it sure as shit can't write anything original or good by itself, and so the second something has the tag of "written with AI" in it I'm going to proverbially dump it in the trash. It's going to be mediocre at best. It's far more likely to be terrible. AI generated writing has no soul.

This really makes the Studios costing themselves even more money (and getting more unions involved) by prolonging the strike for the promise of free ai labor even more fucking funny. you dumb fucking bastards lol

[yuzu-adagio]

Howdy folks!

I suspect I'm not coming back here, I'm not hearing good things about what management has been up to in my absence :\ Bluesky is the best place to keep up with me, other than my discord. Cohost is my secondary these days. Twitch remains my main streaming platform. Bums me the frick out, I loved this place and have a lot of history with it. To my friends I might not see elsewhere, it's been fun <3

I am Yuzu Adagio, an easygoing capybara vtuber. I tend to play retro and indy games. I like games that are complicated, cute, turn-based, weeby, procedurally generated, deckbuilder, roguelite, RPG, or queer. I shy away from horror and public lobby multiplayer. My vibes range from quiet and chill to moderate gremlin, depending mostly on what I'm up to. She🏳️‍⚧️they.

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[howtofightwrite]

Hi! My MCs are two teen siblings who live in a fictional town in New Jersey. I want them to be like amateur private investigators who get evidence and compile files and send them to the police or something? (Everything they do to get info about crimes would be legal even though they don't have a licence.)

That's not how this works. So, I'm going to point something out first, this is a fundamental defect for most of the Armchair Detective Mystery sub-genre. So, nearly every PI story, and the vast majority of mystery lit runs afoul of these issues. It also leads into the the humorous Murder She Wrote Serial Killer Theory, which, if you're unfamiliar, is a brilliant bit of shitposting.

Mucking around in a criminal investigation is (generally speaking) illegal. This may not, technically, be obstruction of justice, though, that's the most likely charge. In New Jersey, you're guilty of obstruction of justice if you “obstruct, impair, or pervert the administration of law... ...by means of any independently unlawful act.” In your specific example, that's the theft of evidence (probably, technically, “theft of movable property.”) It doesn't matter (as much) that they handed it over to the police after the fact, it's that they took it in the first place. Additionally, breaking and entering (formally identified as burglary under NJ law) is another, “unlawful act,” if your characters gain access to the crime scene via stealth. (Also, a conviction burglary is one of the crimes that will permanently bar someone from getting a PI license in New Jersey.)

The reason this matters is a little more complicated. It comes down to the chain of custody, so, I'm going to step back and explain the fundamental discrepancy between the mystery genre and reality.

In a mystery novel, the job of the investigator is to unravel the puzzle of events that lead to the original crime, and then use that information to identify the perpetrator.

In the real world, the job of a criminal investigator is to collect irrefutable proof of what happened (somewhat obviously this isn't always the case), and hand that over to the prosecutor. Fictional examples of this are the police procedural, which is a distinct genre from mysteries.

This is where that cliché tension you'll find a lot of police/detective thrillers kicks in. It really isn't enough to, “catch someone,” you need to have the evidence to prove the perpetrator was responsible, and that evidence needs to be admissible in court. (Meaning, it can be used.)

The chain of custody is a log of everyone who interacted with a piece of evidence from the time it was first discovered until the trial. This is very important for establishing that a piece of evidence was not tampered with. If the prosecutor is unable to prove that the evidence is in an unaltered state, then it's very possible the defense will be able to exclude it. At that point, if the evidence was critical to a thread of the investigation, that entire thread may be excluded. For instance, if a murder weapon is excluded, and that weapon lead to the search of the defendant's home, anything recovered in that search may be excluded as well.

Somewhat obviously, if a piece of evidence passes through the hands of an amateur teenage investigator, that's going to seriously undermine its credibility. “So you're telling me, that an entire investigation team couldn't find the murder weapon in the victim's apartment, but a couple highschoolers broke in and found it in five minutes?” This is also ignoring that it can be very easy for an amateur to accidentally destroy evidence. For example, when they found the murder weapon and picked it up, the exact position of the weapon was lost (which can be vitally important evidence), and it's very likely they will smudge or destroy prints on the weapon. Further, even if they hand it over to the police, any resulting search warrant, and evidence collected, would be vulnerable, because the piece of evidence that pointed the police in that direction would be in question. (Now, in reality, it wouldn't be quite this clear cut. And, there are concepts such as, “inevitable discovery,” that can potentially protect elements of the investigation.)

If you remember back to last week's post, I mentioned that the best way to frame yourself is to investigate the crime you're accused of, and ironically, this creates a similar situation. Your characters are breaking into crime scenes, and in the process leaving behind forensic evidence of their presences (something which is likely to be discovered.) In some cases, where they've been on the premises before, that may be excusable, but if it's someplace that they don't frequent, or if they accidentally alter the scene in a way that indicates they were there (such as getting blood spatter on their shoes), they can quickly become suspects. If they suddenly show up in the police station with the murder weapon, that would be pretty suspicious, and if they tried to be clever (such as by anonymously mailing the weapon to the police), that's going to cause the police to burn time and resources hunting them down. (Ironically, diverting police resources like this is a crime in its own right, though I'm not sure what the formal name is under New Jersey law.)

Ironically, simply the act of investigating a crime is a pretty good way to become a suspect, unless you have a good reason (such as being an insurance investigator, or a licensed PI hired by a lawyer after an indictment has been handed down), and even in those cases, they're going to be working with the police, and reviewing their work, rather than doing things like poking around crime scenes without supervision. (Worth knowing that a PI might actually poke around the crime scene in person, but, it wouldn't be via breaking in. Again, if convicted of burglary, it would permanently cost them their license.)

Also, worth noting that New Jersey uses the same license for both private detective agencies and security guard services, and the law is written from the perspective that a company may be doing both. Additionally, employees are licensed under their employer's license. In this specific case, if the investigator did something that would cost them their license, that would only apply to that employee, not their employer.

Another issue for the amateur investigator is, they (basically) never have access to a lot of the critical evidence. One of the most important pieces of evidence in a murder investigation is the corpse itself. Forensic evidence can establish critical information, such as time and method of death. However, your amateur investigator has neither the technical capability, nor the necessary access to the corpse to conduct an autopsy, and, as discussed above, wouldn't be able to provide credible evidence to the police (unless, of course, they were the coroner assigned to that dead body, in which case, they should have a pretty solid grasp of why you wouldn't want to get into an illegal investigation.)

So, is any of this a problem for a mystery novel? No, not really. Mysteries, as a genre, aren't particularly interested in the reality of criminal investigations. Crime thrillers tend to view these issues as minor annoyances. Well written procedurals tend to pay attention to these elements, and try to draw their drama from the intricacies of the system, while poorly researched procedurals tend to leak back over into using all the clichés from thrillers.

Mysteries are a formulaic genre. That's not a defect, but it is critically important to remember when you sit down to write one.

This leads back to that glorious shitpost. No, Murder She Wrote (1984-1996) was not about a serial killer who gaslights random people into in confessing that they murdered her victims. However, it is a hilariously credible explanation for how Jessica Fletcher (Angela Lansbury) proceeded to investigate over 250 murders in her spare time. However, this is a consistent issue with a lot of serial armchair detectives, where, over time, the intended premise becomes more absurd than the idea that they really are the common thread between the killings.

So, can your teenagers investigate crimes in New Jersey without breaking the law? No. But, if you're wanting to write mysteries investigated by a pair of New Jersey teens, that doesn't really matter. Reality is something that is only tangentially relevant to the genre.

-Starke

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