#that someone who can has the same question

[yieldtotemptation]

ANACHRONISM ft. Mina

mina x male reader smut

part one of strange currencies

14k words

Go ahead, try and pretend like any of this happened by accident.

Like you totally didn’t mean to charm some poor, pretty little thing; dazzle her with the wealth, the fame, the you of it all.

Have her spreading her legs for you, bunching her dress up over her thighs, serving herself up like she’s one of those ludicrously expensive banquets you frequent, pleading—

"God, I need you inside me, like, right this fucking second."

Because here’s the truth of it all, what you’ve come to realise about this woman who has never once in her entire life been reduced to something as pithy as poor or pretty or little; let alone anything short of extraordinary. This wildly successful, elegant to the point of being untouchable, and just really, really fucking gorgeous idol:

Nothing about Myoui Mina is accidental.

Even all this—her idea: showing up at your suite uninvited, leaning against the doorframe, panties hanging off her fingertips. Showing off how ridiculously drenched she is for you and how badly she wants you to do something about it.

If only these walls could talk.

“Hurry up,” she’s gritting out. Deadlocking the door behind her. Still not used to waiting for anything, apparently. “Come on, I need your cum. Anywhere you like. Just inside me. Now.”

You should be more surprised. Instead, you’re laughing. “Patience, darling.”

A step forward, pants hitting the floor, cock in hand. Running the tip of it across her folds, making it shiny with her slick, forcing this sigh from her lips.

You pause, just to make her whine. To make her give you what you really want to hear.

Mina bites her lip.

Squeezes her eyes shut.

She knows the deal.

"Please."

That word, that crack in the composure, the control that Mina is so used to maintaining everywhere else but here. It’s the thrill of it all—the challenge in the attempt. Taking someone like Mina, all perfect posture, sparkling teeth, effortless grace; and bringing her to her knees.

Figuratively speaking, mostly.

Only, her phone lights up.

You look down and see it, left abandoned on the floor somewhere in Mina’s rush to get to you. But now its glow is stark against the dark parquet, beaming with messages by the dozen. All different variations on the same question: where the fuck is she?

Her eyes flicker to the screen, then back up to yours. There's a silent conversation happening there—desire fighting with duty, lust with loyalty.

You make it easy for her.

A push is all it takes, really. Cunt yielding to your will, cock sliding into that ridiculous tightness.

She freezes.

Braces herself.

Whimpers.

“Priorities, Mina,” you grunt through it, breaching in deeper; assaulted by the heat of her cunt around you, choking each inch. “Remember, you asked for this.”

The phone keeps buzzing, panicked vibrations at your feet. Urgent messages becoming calls, flashing faces across the screen. You can see them one-by-one, see Mina’s reaction as they pop up—sighing when she sees her managers name, eyes widening when a rather flirty photo of Chaeyoung comes next, and then her entire body tensing, tightening around you at the next picture:

Her and her boyfriend, arms thrown around each other, both looking all beautiful and famous and so very much in love. The perfect couple; so picturesque it might as well have come right off a billboard.

“God, fuck,” Mina groans out, panting, breathless. “You’d think they’d—ah—just leave me alone for one—single—night—”

“Should we snap some photos? Add them all to a group chat, send them through? Let them see the look on your face and figure it out from there.” 

Mischief flashes across her eyes, mouth open to answer back with something that is no doubt clever and suggestive and designed to get you both into far more trouble than you’re already in—but she doesn’t get a word of it out.

You’re slamming into her.

Mina nearly comes apart then and there; eyes snapping shut, neck arching, back banging against the hard, unforgiving wood of the door behind her. Her lips round into this perfect ‘O’ of surprise, and this sweet, sweet needy whine comes slipping out from her throat.

And just like that, she’s all yours again. 

It’s not like the phone goes silent—it just stops mattering.

“Asshole,” she’s saying—grinning now, doing that Mina thing where she says one thing but means another, expecting you to read the underneath. Which this time is—touch me, pull me close, pin me and keep me fucking trapped while you fuck the air right out of my lungs.

“Now there’s an idea.” You’re kissing her, tongue past her lips, tasting the rush of the forbidden, the lines she’s crossing just so she can have you filling up her cunt.

And there’s all this noise—the sound of your cock thrusting into her, skin against skin, shaft into wetness; the buzzing of the phone, her cries of your name dying in your mouth.

Oh, you know it’s going to be brutal if anyone was to overhear, if you’re caught and all this gets out. The narratives that will be crafted, the cliché of it all, the sizzling hot headlines that will undoubtedly paint her, as they are wont to do, in a million different unfair ways.

Seductress. Gold-digger. Slut.

But even as you’re fucking her deep, lips marking up her skin, digging your fingers into the meat of her ass and making Mina cum so hard that all she can say is— “please, please, please,”

—you know the facts, no matter who’s begging who under the shine of the outrageously garish chandelier hanging overhead:

You're the one that chased her first.

—

(It’s incredibly fitting that this whole thing started with a celebration.)

—

Taking a step back, to months earlier, at a gala:

Where it’s becoming apparent to you, and seemingly, just you, that Mina’s the only one here that doesn’t look entirely out of place.

Or at least, she’s the only one that seems to fit amongst the grandeur; the imposing pillars and archways, the ornate cornices, the glint of gold and jade beneath the soft glow of paper lanterns, and the shadow of the palace itself, cast over the sprawling garden like a looming guardian.

The anachronism of it all is the concept, or so you’ve been told. The new, the future—your company—against the backdrop of the old, the traditional. A fusion event, meant to celebrate and honour the past right before yanking it to the future; and yet it all somehow feels so…

Boring.

The same faces, the same games; sharks in a sea of corporate sabotage and political machinations. They’ll smile for you, sing your praises to the highest heavens, do everything they can to make you remember their name—right up until the moment you show your back.

All this to say, it’s going to be very hard to last four hours without wanting to punch someone in the face just to make things slightly more interesting.

(Oh come, one and all. Throw yourselves at the feet of Korea’s youngest self-made billionaire, and hope that by some stroke of luck or misplaced charm, you might just catch a crumb from his table.

That’s what this whole exhausting circus feels like to you.)

So, when you’re about done with what seems like the hundredth round of fake laughs and vacuous pleasantries with yet another politician who’s trying to sell you on the importance of family, and coincidentally, his very marriageable daughter, you make your escape.

Something about needing a drink.

Ease out of the circle, let the noise of the gala swallow you up like you were never there, and navigate across the garden to the bar.

Where you find her.

Mina, something of an anachronism herself; looking more at home amongst the pagodas and the cherry blossoms than in the company of suits and ties and plastic smiles. Like she’s been painted onto the scene; rendered in living colour—stark white, midnight black, blue silk. Or cobalt. Maybe azure.

You’ll have to reserve some time later to ask her about the colour of her dress.  

What’s important is that she’s alone, which seems like a crime in and of itself, on account of, well, how fucking breathtaking she is. Add that she’s here at all, and it all amounts to some kind of serendipitous miracle.

(An idol, a celebrity, willingly spending her free time in the company of the elitist dregs of society? The world's gone mad.)

You don’t really need an excuse to join her; you know her, technically. Not intimately, but in that same way that everyone in this high society tapestry is threaded together. An award show here, a charity function there—the kind of acquaintance that lets you say hello without raising eyebrows, but not much more.

All this to say it makes some sense to slide yourself onto the barstool to her right, ignoring that the rest are completely unoccupied.

The smile that Mina gives you as you approach is a little sharper than it needs to be, a little too knowing.

“You’re not going to ask if this seat’s taken?”

You return the smile, a mirror image of hers, and lean onto the bar. You don’t even need to look at the bartender; your drink is in your hand, cold and crisp, the second you set it down. “I thought I’d risk it.”

“Neat trick,” Mina says, posting her chin on one hand, watching the sleek liquid slide down your throat. She’s got a flute of champagne in front of her, untouched.

There’s a gravity to her, you’re realising only when you’re this close. Something in the way the moonlight's kissing her skin, a blend of porcelain and peaches, glowing. Maybe that’s why she’s been left alone; the other guests were smart enough not to get swallowed up in it all. Better to appreciate at a distance than to drown in it.

She regards you for a beat, runs a finger around the rim of her glass. "Shouldn't you be off being the centre of attention somewhere? Shaking hands, kissing babies, that whole bag?”

“Nah," you’re dismissive, looking back out to the crowd milling about, lost in their own conversations and power plays. "This whole thing's more for them than it is for me."

Mina scoffs. Raises a perfectly sculpted eyebrow. You follow her eyes—across the banners, the placards, the giant projection cast onto the palace itself.

A brushstroke circle—the logo you designed—swirling around, stamping itself on what was once a symbol of absolute power, now reduced to just another stage for the rich and the elite and all their insignificant little games.

You feel the need to clarify. “For the company.”

Mina ripostes. “That just so happens to be named after you.”

“Just one of those funny coincidences.”

“Apparently so.”

It does occur to you that it should be somewhat startling how instantly familiar you feel around Mina. Slipping into casual conversation—light jabs, coded compliments; all soaked in insinuation. Just enough edge and implication to keep you on your toes.

There's an ease to her, to how she smiles, how she laughs, how she just sits there, all drop-dead gorgeous and oh, this? Nothing special, just how I always am.

So it’s only natural that somewhere in all this easy banter, between your third drink and her second, her hand lands on your forearm, your knee brushes against hers and you both decide to stop being so subtle.

You pick your moment, as she’s thumbing through a menu of drinks she’s already deciding she doesn’t want, to try to solve the mystery of her. Past the red of her lips, the edge of her jaw, the hollow of her throat. Along the neckline of her dress, where the silk clings like it’s afraid of letting go, and down to where it dips and angles out; the open shoulder, the collarbone, the swell underneath.

It’s the sum of it all, you’re realising. The dress, the look, the woman.

(Accentuate without revealing. Tease without giving away the prize. Show off that flawless ass and dare the world not to look. And yeah, they fucking look. They all do.

You’re just the only one that doesn’t look away when you're caught.)

But now, you could reach out and touch her; unlatch the straps of her heels, run your fingers from her ankle up, up over the smooth expanse of her calf, her knee, the bare skin of her thigh right where her dress decides to daringly split, and underneath, until your hand is filled with the heat of her and all she knows is you.

You could complete her. Or she, you, you think.

Only, there’s a slight misstep in an otherwise immaculate ensemble.

A necklace.

A ridiculous, ugly, tacky thing. Hanging off her like a misplaced jewel on a swan; more ‘costume party’ than ‘refined modern gala’. Fighting the simplicity of her gown, offensively jarring, especially against the serenity of the moonlit garden.

Mina notices you staring. “A gift.”

“Boyfriend,” you realise, doing the math in your head. A careless present, given by someone who doesn’t know (or doesn’t care to know) her. Hoping the flash, the dollars spent overshadows the unfamiliarity.

(It doesn’t.)

“Partner,” Mina confirms. There’s a slight dip at the corner of her mouth, a blink-and-you’ll-miss-it flash of something unpleasant. It disappears as soon as it comes, but you caught it. “A little too old to have a boyfriend.”

“Hm.” You click your tongue. Narrow your eyes. You’ve been told that it makes you appear disarming. “And where is this partner?”

Mina’s smile returns. She takes her first sip of champagne. “You tell me. Don’t you sign off on all the invites?”

“Just the important ones.”

“Even so, not like he would have come if he was invited.” Mina leaves you to fill in the gaps. “A tad too public. For the both of us, really.”

“I see.”

And you do. You’ve seen your fair share of these types of arrangements, participated in a few, even. At the beginning, the secret of it all, the cloak and dagger; it’s exhilarating. But that only lasts so long. Eventually, like all things, it fades. Leaving you with someone who you don’t really see, who you don’t even know, and the sinking realisation that maybe the thrill was the only thing that kept it interesting. 

“So,” you lean forward, drawing your conclusion. “You’re here. All alone. Stuck in a relationship with someone dumb enough to let you go out looking like that.”

“Careful.”

“It’s just,” you offer, your gaze lingering on her throat, “You don’t strike me as the type to settle for anything less than you deserve, Mina.”

That makes Mina pause. Almost flinch. Imperceptibly if you weren’t looking so closely at her lips. The sound of her name rolling off your tongue, like it's always been there, waiting to escape—it has her reeling.

And yet, somehow, she recovers.

“Because you know me so well.”

So, you switch up, throw a curveball. “Is it the sex?”

To her credit, Mina barely reacts to that provocation, as if she was expecting the follow up. Just takes another sip of her champagne with a grace that seems rehearsed. You’ll have to try harder.

She shrugs a bare shoulder.

"Sex is just sex. It’s not everything."

“So, no sex at all, then.”

Mina’s smile is like a knife’s edge. “Are you always this forward?”

“All I’m saying,” you keep going, somewhat emboldened by the game, by the warmth of the whiskey poisoning your kidneys. “If it was me—”

Mina’s hand slides up your forearm, ending somewhere around your triceps. You’re close. Close enough to inhale her perfume; cinnamon, smoke, darker than anticipated. You’d fill your lungs with it, if you could. “If it was you.”

You take another drink. She watches.

And it clicks into place. What this really is. What she’s really doing here.

The slight tilt of her shoulder, a slip of her dress—just a fraction. A shift in her seat and suddenly, the silk has risen, too high, and there’s a stretch of skin leading up to a flash of lace that’s more moonlit than the night itself.

The suspicion sets in. Was she waiting for you?

Mina laughs.

You ask, “What’s so funny?”

“I was just thinking,” Mina says, lowly. Grinning, like she’s reading your mind. “How even you’re the same.”

“How so?”

“All you men. How you see me, how you’re looking at me right now.” She reaches up to her neck, taps the clunky stone hovering over her throat. Once. Twice. “Making it about you. You think I need saving.”

You open your mouth. Close it. Open once more to protest—

“That’s what you think.” Mina interrupts, smirks; and your eyes are on her lips, wondering if anyone would be able to pull you off them if you were so lucky enough to taste them. “What you want is to own me.”

“Mina,” you regard her, openly. Honestly. “I could never dream of owning you.”

She nods back towards your logo, emblazoned across the castle walls. “Because you’re clearly not the type of person that likes owning things.”

And there’s a realisation here, as she’s staring into your eyes—a real, actual, bone-deep revelation—that she's been doing the same thing as you this whole time. Reading you, until she's seeing through you.

The silence stretches, thick and sweet , and it’s obvious to see where this is heading. The idea that’s being sparked—lean in, kiss her right here, right now, with all these eyes on you. Kiss that smirk right off her face, steal whatever clever rebuttals she’s composing from her lips, the flirtations that she’s left hanging in the air. Replace them all with your name.

But it’s all hypothetical, for now.

“You’re not even thinking past right now, are you?” Mina asks, amused. "The rumours you've started just by sitting next to me."

"Rumours."

"The kind that ruins careers. That never leave. That would make him want to kill you if he found out."

Another sip, letting it burn down your throat. Think about it. Attack it from every angle—

(Doesn’t it just make sense; the billionaire, and his beautiful celebrity partner? Or even if there was a scandal, just a one-night fling; wouldn’t it be worth it?

You could both live off the thrill alone, it’d reignite whatever embers her boyfriend hasn’t stomped out yet.)

“Maybe I want the rumours.”

Mina’s eyes widen. It’s the first time she’s dropped her guard.

“If you were mine,” you start, and stop immediately, reining in that last word on the tip of your tongue. “If you were my girlfriend, partner, whatever label you want to put on it. I’d tell the whole damn world. Broadcast it on every channel. Make sure everyone knows exactly who I’m fucking every single morning, afternoon, night.”

You’re hitting the mark of something, you can tell, because Mina’s hand tightens around your arm, and she doesn't seem to mind when yours lands on her thigh. A flash; the thought of spreading them, of seeing her laid bare underneath you. Or flipped over in front of you, crumpling that dress around her waist, so you can take proper purchase of that ass that’s been hinted at all night long.

And all of a sudden, she doesn't seem to be as spoken for as she might have led you to believe.

She bites her lip. Keeps it there for a second, two, before letting it go.

“So, this is what you usually say to all the pretty girls you invite to these parties?”

The alcohol’s loosened your tongue enough to state truths you’re supposed to keep to yourself. “I usually don’t have to say anything at all.”

Mina challenges. “Must be nice, being this rich, cute, and charming.”

“The being rich part does a lot of the hard work.”

“So, the cuteness and the charm?”

“I’ll let you decide,” you finish, watching her smile spread, the corners of her eyes crinkle. It makes your chest tighten.

“I suppose, in your perfect world,” Mina surmises, and now she’s so close that your knee is splitting the difference between her thighs, and you’re already planning the logistics of it all—the where, the how— “this ends with you fucking my brains out behind one of these old houses.”

“I’ve got a few in mind.”

“I bet.” Mina takes one last pull of her drink, empties it, and sets it back down. “And afterwards? After you’ve made me forget my own name and made the entirety of my existence revolve around your cock—what’s your plan then? Who are we—who are you going to be?"

You finish off your own glass, setting it down with the same deliberate clink as hers. “You know, the funny thing about money is," you say, sliding your fingers up her thigh, higher, higher. "It can make you whoever you want to be. So, the real question is—who do you want me to be?"

You’re holding your breath as she answers: “Not some knight in shining armour. I don’t need a saviour. If that’s what you’re thinking.”

“Then what do you need?”

Mina inches, gets close, and now her breath’s a tickle on the shell of your ear. She bites. “Just someone to help me scratch an itch.”

There’s a moment, somewhere before Mina threads her fingers through yours, lets you lead her through the throngs of guests and into the shadows of the palace; where all of this—this want, this need, boils over. Where Mina kisses your cheek and warns:

“You don’t have the time for me.”

Now it’s your turn to grin; reaching up to her throat, slipping that necklace off her, leaving it to clatter onto the granite below never to be spoken of again.

“Maybe. But I can make every second count.”

—

This is how you end up:

Pinning Mina to some ancient wall; the moon’s spotlight spilling over the contours of her body, a hand tangled in her hair, the other pushing her dress higher up her thighs.

You weren’t lying, you did have a place in mind. Namely, by the west gate, where a house that used to be the servant’s quarters stood. It’s a part of the palace that’s been neglected in the reconstruction, and thus, ironically, the most authentic part of this whole sham.

A true hideaway for those not to be seen or heard; a building that’s seen centuries of service, of lives lived in the shadow of royalty, and now it’s going to bear witness to this, to you and Mina, undoing each other with every passing second.

Something a little sacred, a whole lot profane.

She’s smiling against your lips; a smirk, more likely. Because she’s new to this kind of thing—the almost romantic picture the two of you are painting—chaste kisses stolen in quiet corners of royal residences. The kind of thing that could fuel a dozen dramas.

But you both know better.

So, you let her start things off, let her set the pace for this evening's affairs. And Mina, to her credit, is gracious enough to tell you exactly what she wants.

(Kiss me harder, touch me here, please, please, don't let go.)

Twisting the lapels of your jacket in her hand, desperately pulling you closer, even though there's no more room left. Kissing you with longing. Making you believe that she's missed this—missed you—despite the fact that you've only just officially met. And sure, it's a lie, but it's a lie that feels so good, so right, that you’re willing to indulge her.

Indulge yourself.

Your lips veer off the corner of her mouth, ignoring the tongue and teeth that try to keep you there, the hand that kindly urges you to not stop kissing her.

Because you’ve got a ticking clock in the back of your mind, counting down the seconds before someone calls you or her away, or more problematically, catches you and her, a heap of limbs and lust and fucking in the dusty archives of history.

You break away, keep things moving, kiss your way along her neck, feel her heartbeat drum against your lips. Follow her neckline down, down; find this sweet little spot, a darkened freckle right on top of her collarbone that makes her sigh.

“Tell me something, honestly.” Mina finds her voice the same time your fingers meet the promised lace of her underwear, turning her words into these breathless moans. “How often do you do this?”

You tug the fabric pooling at her waist—once, firmly—and Mina’s dress slips from her shoulders, whispering down her arms and leaving her in nothing but flawless white and a strapless bra that matches the silk in hue. 

You smile, look up. “This?”

Mina clarifies, "Whisk some innocent girl away into a deserted corner and—"

She’s cut off by the click-clack of her bra releasing behind her back, your fingers slipping beneath the cotton, and you’re filling your hand with the swell of her breast; so soft, so perfect.

The sound when you touch her and she gasps; if only you could capture, keep it forever. You’ll just have to make sure she keeps making it—kneading gently, rolling the pebbled peak of her nipple between your thumb and forefinger, feeling it bead and tighten.

Your lips to her shoulder, you ask, “And what?”

Mina sighs, “fuck her completely, thoroughly senseless,” and you swear there’s something revelatory about how she says it—sinful ideas from saintly lips.

"Honestly?" You pause, your gaze lingering on the goosebumps rising across her skin. "You're the first."

Her laughter's a surprise; it's light, disbelieving. "First?"

"First tonight."

Mina's smile widens, her grip on your jacket tightens. "You're so full of shit," she says, but there's no malice in it. Just the thrill of the hunt. Or, being hunted.

You don’t bother to argue the point; let her think what she wants. Instead, you lean into it (into her), let your other hand snake around her thigh, over the elastic of her panties and lower, until you’re palming the curve of her ass.

Firm, taut, flawless—because of course it is; exactly like the rest of her. She’s so hot under your touch; the softness, the smoothness of it. And you know—without a doubt—you’re going to worship this ass.

A squeeze for good measure—balancing the fine line of respect and greed. Mina yelps—surprise, pleasure.

“God,” Mina shudders, does her best under the assault of your lips on her neck, fingers pinching, tugging, hand squeezing. "You're—oh, you're not so bad at this."

You press a kiss to her throat. “Flattery gets you everywhere, Miss Myoui.”

“Please, not with the government names,” Mina hisses, her cheeks flushing a soft pink that matches the glow of the lanterns outside.

“Apologies.” You chuckle, slipping your hand underneath the band of her panties, and around—down—pressing against her and sinking lower until you’ve got a proper hold of her. Soaking wet and dripping heat onto your fingertips.

A cry from her lips. A shiver. A buck of her hips.

Her hands shoot to your chest.

“Please, kiss me again.”

You oblige—how could you not, with the way she’s begging?

Her nails dig into your shirt, her breath hitches as you push your finger—your index—past her entrance and inside, and just before she can moan your name into the night air, you’re filling her mouth with your tongue, licking inside.

You kiss her like it’s your first kiss, like it’s your last. Like the only way to calm her down is with your mouth and your tongue and your teeth. She’s so wet and tight and pulsing around you, she’s trying to suck you in; and fuck, when you’re knuckle-deep she bites down on your lip so hard she nearly draws blood.

The moans that she's filling your mouth with; this symphony of want sends a jolt of pure, unfiltered desire straight to your cock. You're straining—against your trousers, against her thigh, straining against the urge to rip that dress off her and leave her bare, but you're not there yet.

It's about her, about needing her, making her beg for it. Making her so desperate that she'll do just about anything to get you inside her.

(Because there’s something about her, about Mina, that just makes you want to take your time. To learn the ins and outs of what makes her tick. The secret spots that make her moan into your mouth, the places to touch that make her shiver, the sighs and sounds that only you can coax out of her.

It’s etched into every line of her body; every curve and sharp edge—just pure heat from head to toe; And there’s a beauty so absolute in her perfection, the dash of makeup, the careful draping of her hair, it’s too good not to ruin. To not want to leave your mark on her in some way so that everyone knows she was once yours, if only for a night.)

“You’re just so needy, Mina.” You hum into her jaw, when your lips slip from hers and you struggle to resist the urge to leave these marks on her. Her cheek, her neck, her collarbone. Every part of her that she’s offered to you, every part you’re eager to claim. “Like it’s been ages since someone’s touched you like this.”

“I don’t—please—” is all Mina can manage, because the pad of your thumb is ghosting over her clit, pressing in and circling, and the way her pitch rises and she sighs your name gives you your answer:

It’s been a while.

“I don’t think—gah—” She tries agin, but you torture her with another finger, stretching inside her, sinking in and curling upwards. “I don’t think I’ve ever been touched like this.”

“Good,” you tell her, and she shivers when your voice rumbles through her, when you drop down and your lips go low again, and you take one of her stiff peaks between your teeth. “I don’t settle for second place.”

“Neither do—God—I—” Mina braces herself against the wall behind her, failing to find anything but cold brick to hold onto as you map out the rest of her with your hands and your fingers and your lips.

She’s so, so hot for you; you would’ve never predicted it, not in your wildest estimations. Never thought just how easy it would be to undo someone so poised and put-together like Mina, to render her into this puddle of need.

“So why don’t you show me then,” Mina breathes, voice trembling as much as she is. You suck deep, swirl your tongue, make her arch her back to push more of herself into you. “What all the—oh my—what all the fuss is about."

“As you wish, darling.”

And there’s part of you that’s recognising the awfulness of what you’re doing, taking something—someone—that’s not yours, and having her tell you all these things, finger fucking these words of oblivion from her lips, touch me, please I need it, kiss me harder, more, more, make me feel it, make me feel you.

But even that part of you is so, so small right now, buried deep down with everything that isn’t Mina, with everything that isn’t her pussy clenching around your hand, or the taste of tits on your tongue.

Ignore all thoughts of the after, of what happens when you’ve made her cum again and again, and you’ve wrecked yourself in the pursuit of it all. What happens when you return to the throngs of nobodies, all rumpled and flushed and red, and the whispers start flying, and the glances are no longer just knowing but shamelessly envious.

That’s a problem for future you.

Right now, you’ve nearly stripped her entirely, pressed up against a wall that’s seen more than its fair share of secrets, and your two—now three—fingers are ruining her in a way that has her dancing on that borderline.

“I’m close, so close,” Mina cries, but you already know.

Because you’re already giving it to her; everything she wants and then some. Touching her, fucking her with your fingers, pushing her higher, watching her unravel.

Making her whine against your skin, making her eyes squeeze shut like she’s afraid of what’s happening, afraid of how much she wants this.

“We’re only just getting started, Mina.”

You let her nipple pop out from your mouth, leaving it to bob in the cool night air, sensitive and dying to be back between your teeth. Hand shifts from her hip, sliding up to cradle her jaw, to tip her face back���force those deep, dark eyes to open so you can really look at her.

Panting, pupils blown wide, and the sight of her so undone sends another wave of heat straight to your cock.

“Look at me.” It comes out harsher, more of a firm command than intended. It does its job. “You're going to cum now.”

She nods, frantically, eyes locked on yours as your thumb traces over her bottom lip, feeling it plump and swollen from your kisses. Her tongue darts out, swipes over the pad, tasting herself and you; and you’re thinking about filling that mouth of hers, or maybe that cunt, or if she’s game, that tight, untouched little asshole.

But one thing at a time.

“I’m going to eat your pussy,” you’re saying everything you’ve dreamt of saying to her since you first saw her, first caught sight of that ass daring to wander past your line of sight; and suddenly, every raw, filthy thought you’ve had of her is coming to the surface. “Then I’m going to fuck you. Again and again. Your cunt, your mouth. That ass. I’m going to take it all. And you’re going to let me, aren’t you, darling?”

Mina breathes, nods, signing a verbal contract to let you do whatever the fuck you want with her, promising you all of her, every part of her you’ve so shamelessly craved.

“Good.”   

And so, you drop to your knees.

You glance up at her. She looks down at you.

Like she’s been burning for this; like she’ll combust if you make her wait a second longer.

Pushing her dress up until it's around her waist, keeping it up with your hands on her thighs, spreading her legs wider. And you’re seeing her pussy, the darkened, plump flesh—bare, wet, begging—and so, so pretty.

Fuck—what kind of guy could resist this?

(The kind that buys her jewellery without knowing the first thing about her. The kind that leaves her to sit alone at a gala like a trophy on a shelf. The kind that doesn’t get to taste her—doesn’t know how.

The kind that’s not you.

And maybe she was right—you do think you could save her.)

“What are you doing?” Mina huffs, impatient.

You smirk, unable to resist the urge to drag this out, to keep her on edge a little longer. "Just appreciating."

Mina's eyes narrow, but the smile never leaves her lips. "Well, appreciate faster."

You don’t need to be told twice.

Take her by the hips, spin her around, make her inhale—sharp. Force her to look away from you, to face the cold, indifferent wall, to brace herself.

“Wait, why—”

“Hold your dress up for me,” you mumble against her thighs.

Mina’s hands obey, holding the silk out of the way; and now she’s bent over, like a fucking present. Letting your eyes drink in her ass; unable to do anything but just stare.

How the moonlight kisses the curve, makes the shadows play against it. So perfect. So round and tight and full. Fruit so ripe you could pluck it from the tree with your teeth.

You’re leaning in, kissing the top of her thighs, right below where her cheeks spill over. Kissing up, a soft press of your lips to one cheek, the other, and fuck Mina’s trembling; barely holding it together, and you’re just getting started.

You drag your nose up, across the cotton of her panties and inhale her deep. Sweet and musky, a fine wine that’s been left to breathe, and she squirms.

Shivers under your breath.

And when Mina sighs something that sounds suspiciously like a warning—because she’s not the type to let you get away with anything like this so easily—you take the band of her underwear with your teeth, feeling the fabric stretch. Thin, delicate, begging to snap.

The panties fall away, down to her ankles. The sound of her heels tapping the ground as she lifts her legs to let it slide off, leaving her bare, vulnerable, and yours.

Mina goes still.

Hands spread her cheeks, and finally, you dive in, tongue first. Swipe along the crevice of her ass, taste the sweetness of her from bottom to top, forcing this gasp from her lips. You’re not shy about it—no room for anything close to it when your nose is pressed up against her asshole—and Mina’s thighs are trembling, muscles in her legs tightening like she’s trying to run away from what’s coming next.

But she won’t. You’ve got her pinned. You’ve got her right where she wants to be.

You flatten your tongue against her pussy, lick from cunt to asshole in one, long slow drag, make her sigh your name like it’s a prayer.

“I can’t believe—I never—no one’s ever—” She’s talking, trying to keep it together, trying to rationalise how something so filthy is making her fall apart in a million different, tremendous ways. But the words break off into moans, pure music to your ears.

“Like that?” You murmur against her skin, words disappearing into her.

“Oh my god, yes,” Mina cries out, a benediction. Her grip tightens on her dress, holding it up like a veil. A fucked-up kind of thing, marrying her cunt to your lips; arousal so potent you’re drowning it.

Because she’s a wreck, been a wreck since the moment you laid a hand on her. And now you just have to keep her there.

You let your tongue slide up and down her slit, teasing the folds, going lower, spreading her legs to lap up her clit until she’s begging for it—until she’s begging for you to push inside, to fuck her with it, to make her scream.

"Enjoy it, enjoy being so messy for me.”

"Oh—oh my God!" Mina cries out as you delve into her, and the sound echoes down empty corridors, bouncing off the walls, taking a grand tour of the palace. “I can’t believe—can’t fucking believe—"

You can't believe it either. That no one else has had the pleasure of tasting, of licking, of dining on this slice of Eden laid out before you. It's a crime against nature, really. A sin that you're more than happy to rectify.

"Fuck, you're so good," Mina voice is strained, her legs buckling under the weight of her own desire, she needs to post one hand onto the wall to not completely collapse into your mouth.

A dark chuckle escapes your lips. Feeling smug and utterly in control. "It's not rocket science, darling. Just a little bit of appreciation goes a long way."

But you're not just tonguing her ass because it’s there, because it’s what you’re into. You’re doing it because it’s driving her wild, because you know it’s a button that’s been left untouched, unexplored. And there’s something about being the first to do it that makes your cock throb, makes you want to worship not just her ass, but all of her.

Every part of her that's been neglected, overlooked, ignored.

"You have no idea," she breathes, her legs trembling harder now, "How good it feels."

You lean back, just a fraction, looking up at her, the tension coiling up her spine. "Oh, darling," you say, "I do. Believe me, I do."

A kiss into the small of her back, and you slide your finger back into her, once at first. So impossibly wet, stretching so easily for you, welcoming you right back in.

It’s all for you.

And you can’t get enough, so you add another, then another, stretching her even more, making her drench you and moan for you louder and louder.

You’ve figured it out. How to fuck her, lick her, press into her cunt just right. Finding the rhythm, that makes her breath skip and her body tense, that makes her pussy clamp down around your digits.

“Oh, God, oh, oh, oh—yes—right there—right there—” She’s panting, her hips jerking back, meeting every thrust of your fingers and your tongue.

You’re so close to making her cum—so close that you can almost taste it on the air—and she’s begging for it, so sweetly, so desperately.

“Please, please, don’t stop, I’m right there—” Mina’s hand reaches back, tangling in your hair, and she’s pulling you closer, grinding herself against your mouth.

Bury your face between her cheeks, fuck her fast with your fingers. It’s heaven down in the depths of hell; her thighs, her cheeks, her cunt, her ass. So soft, so wet, so very yours.

That whimper, that beautiful sigh that escapes Mina’s lips is her final invitation. You push your tongue inside her, opening it up, feeling the tightness, the warmth. The shock coursing through her as she surrenders to the unspeakable filth and bliss of your mouth on her asshole.

So tight, so clean, so delicious.

You lick and suck and kiss, fucking her with your fingers, pressing into her, exploring the depths of that tight little hole.

"This is, this is—” her voice strains, wonder, desperation, downright heat at what you’re doing to her. "No one’s ever done this to me. Keep eating my ass, please."

It’s her words that keeps you going, and it all becomes a blur of moans and shivers, of the way she tastes, smells, feels. But you don’t stop, you can’t, all you want to do is make that tight ring of muscle yours.

“Please let me cum. Now. Please. I need it—I need you—”

She needs you to never stop.

You take her, right there in the moonlit garden, hidden by the shadows and the foliage and the silk of her dress. You can almost feel the vibrations of her voice in your mouth, against your tongue, like it’s a part of her, like she’s speaking straight into your soul with every moan and gasp and plea.

The squelch of your fingers fucking her. Her cunt griping you, being devoured. Your tongue invading her ass. The way you’re ruining her for everyone else. Her cries.

She’s so loud.

It doesn’t matter.

The whispers of the gala seem so far away, so irrelevant. It’s all about Mina and her ass and your three fingers sawing in and out of her and she’s saying—

“God, fuck, how can you do this, how can you make me—fuck—"

The answer to her unfinished question: it’s because she’s worth it. It’s because of her, how she makes you want to prove yourself. Because of her hips and her thighs and her cunt and her ass and all of her, every single part.

And that’s your name on her breath, that’s your name when she’s close, that’s your name when she finally tips over, when her legs give way and she’s gasping it into the night.

“Oh my—”

Mina cums.

You swallow.

Drink your fill from her cunt, fill up your nose with her scent. Burn the memory of what it’s like to have your face buried in her ass and have her leaking down your chin. It’s a full body spasm that wracks through her, setting her soul on fire. She’s a star, a supernova, a fucking explosion on your tongue.

Her walls pulse around your fingers, squeezing, clenching, and you give it to her, keep fucking her through it, keep licking, because she’s still there, still hovering.

It overwhelms her—she lets it—you feel her body tighten, quiver, then release like a bowstring snapped.

“Fuck me, fuck me, please—yes, like that—right—right there—yes—yes—yes—”

A chant of yeses right before falling off a cliff and into an oh fuck, I’m cumming.

And you’re right there, knees in the dirt, smiling against her cheeks, holding onto her hips, making sure she doesn’t collapse entirely.

And fuck, she goes, and goes and goes.

Until the ground falls beneath her feet.

You’re there to catch her, to ease her down to the ground with you, hold her in your arms until her world stops spinning.

It takes a moment, two.

And she looks up at you, like she’s unsure of how she got there, in this tangle of sighs and limbs and you. But it doesn’t really matter because she pulls you closer, hand still buried in your hair, needing to kiss you just one more time.

Her taste lingers on your tongue—sweet and salty and so uniquely her. She kisses you again, a little less frantic this time. A little more like she means it.

It’s hard not to feel anything but pride.

Mina’s cheek is pressed to your chest, her eyes barely able to focus, her breaths coming in quiet, contented puffs.

And you’re coming to realise what kind of woman Mina is. Even now, when she should be an unrepairable mess—sprawled out on the cool floor with her dress in a puddle around her, her pussy still pulsing and leaking down her thighs—there’s this poise to her that’s downright intimidating.

She breathes, “You’re just a fantasy, aren’t you?” It feels like a warm hand sliding down your spine.

You lean down, kiss her forehead, tuck a stray strand of hair behind her ear.

It’s peaceful. It’s perfect.

And then your emergency line rings.

Mina inclines her head. A spell is broken. “Well, that’s timing for you.”

You instantly regret the next words that come out of your mouth, the rational words that have never sounded more irrational. “I need to go.”

Mina’s far too polite, far too graceful to say what she wants to say, what you’re pleading her in your mind to say. But she knows the game. You both do.

She just nods, rewards herself with a peek at the tent angrily poking underneath your slacks.

“It’s fine,” she says. (It’s not). She reaches up to your lips, running a thumb over the gloss she’s stained you with. “I think I can handle it from here.”

Her other hand slips down to your thigh, gives you a courtesy squeeze as a farewell, and it’s all you can do not to jump. But you can’t, because the phone’s still ringing, because at the end of the day you’re still a billionaire with responsibilities and a reputation to uphold.

She’s kind of enough to give you an out. “You’re supposed to be giving a speech, right?”

Said responsibility and reputation has you answering, “Yeah.”

You’re stupid for it, stupid for even entertaining the idea of letting her go, or leaving her behind. But you’re not completely blameless—it’s near impossible to even think straight when all the blood in your body has gone south for the evening.  

“Are you going to be okay with,” Mina blinks down at you. “Your situation?”

It’s painful to even say it. “I guess I’ll have to be.”

Mina sits up, pulls herself off you, untangling her legs with a grace that seems almost otherworldly.  Pulls her panties back up, tucks them into place with a little shiver. Smooths her dress down, twisting it back in place.

You’re already regretting letting her leave before she’s even gone.

But the messages have piled up on your phone, and Mina can see it all, the endless frantic texts, the missed calls.

You’re late.

You’re needed.

The world’s waiting.

Mina reads your face, and you can’t tell if she’s impressed or disappointed. “Looks like you’ve got your hands full.”

You stand up, help her to her feet, because that’s what you do—you take care of your own messes. She’s still smiling at you, and you want to tell her how much you wish you could stay.

“It’s okay,” is all she says, as you tuck your shirt back in and slick your hair down.

She’s redoing her own hair, trying to fix it into something presentable. Something less ‘I’ve been fucked raw against a brick wall’ and more ‘gee, quite a strong wind tonight’.

“I knew from the jump you didn’t have the time.”

You’re blurting out, “I can make more.”

“Not even money can buy that.”

Your phone rings again.

Mina’s eyes follow the screen, the glow lighting up her face. Ethereal. Yeah, that's the word for how she looks. You've never been sure of the definition but you're certain it fits.

And when she stands on her toes to kiss your cheek, to bid you farewell, she holds onto your shoulder long enough to whisper her address in your ear. “I’ll be waiting. If you can get away.”

“Why don’t I just come with you now?”

She laughs—but it’s empty, almost a little sad. “Because, you have a job to do, and I have an appearance to keep up. And unlike you, I’m not quite sure I’m ready to broadcast to the whole world who I’m fucking. Or who I’m going to fuck. If he’s not late, that is.”

And with a quiet breath, she’s gone.

A ghost in the moonlight, slipping away like she’s been painted out of existence, leaving you with the memory of her on your mouth and the ache she’s leaving in your cock.

You turn back to the gala.

The air feels somewhat colder.

—

The rest of the evening goes far, far too slowly for your liking.

While your absence has been noted, the whispers and glances are more curious than concerned. They don't know where you've been, and one of your assistants is kind enough to fetch you a new shirt to replace the one that's smudged with lipstick and makeup and Mina, before any real juicy rumours can start.

You try, and fail, to get things moving as quickly as possible:

(A business rival pulls you aside to congratulate you on the recent product launch—You're just thinking about Mina's ass.

A board member sings your praises about last quarter’s earnings, how you're really sticking it to those idiots that forecasted a downturn—You're only thinking about sticking it between Mina's thighs.

A reporter that sneaked in wants to know if you're planning another acquisition so soon after the last one—Yes, you're going to acquire Mina; find somewhere far away from here with another wall to pin her against and make her scream and ache all over for you.)

Thankfully, your assistant is at the ready before you can really make a scene, dragging you over to the stage and pulling you out of this shit show.

‘Just stepped away for some air’ is what you had assured her when she took the shirt off your hands, but really, there's no point trying to hide it.

She's seen that look before, that glow that you can't quite wipe off.

But she's loyal, she doesn't ask questions. Just tells you that you’re on in five, and that in the meantime, she’ll make sure the driver is ready for a quick exit.

So, you force yourself to smile, address the faces that meld together into a wall of teeth.

Make a speech that’s just a rush of words that you've recited countless times before. Innovation and growth, the future of the company, the same spiel from the annual report wrapped up in a shiny new bow.

But none of it matters. You're not even hearing yourself speak. You're hearing the echoes of Mina's moans, feeling the tremble of her thighs as you devoured her, replaying her orgasm in your mind again and again.

You can't wait to get off this fucking stage.

The second the applause dies down, you're off like a shot. The podium forgotten; the spotlight cold on your back. You grab your phone and slip out of the garden, dodging the eager hands that reach out for just a second of your time.

You find your driver waiting, just as instructed; Mina's address already punched in the navigation.

Just go, drop me off. Don't stick around. I'll call you to pick me up in the morning.

—

“It was cerulean,” is Mina’s amused answer to your admittedly idiotic question.

Not your best moment, to be fair. You raced up to her apartment so quickly that you really didn’t have anything more intelligent to say than ‘what happened to your dress?’ and ‘I wanted to know what colour it was’.

But still, show you the person living or dead that could have said anything coherent when being greeted by Mina, opening the door to her apartment—so unashamedly smug, and so very naked.

So what if you just stood there and stared?

Stared at the curves and dips, the way her hair cascades over her shoulders in inky waves, damp from a shower; making it cling to her skin, drape over her collarbone, her breasts. The nipples peeking straight at you, dusky, pointed, waiting the return of your tongue. Her pussy winking between her thighs, a treasure hidden in a sea of smooth flesh.

You don’t know whether to apologise for your lack of eloquence or thank her for being so incredibly distracting.

You kind of want to request that she turn around.

Mina laughs at what is certainly a stupid expression colouring your face; folds her arms across her chest, crosses one leg over the other. "Waiting for me to offer you a drink?"

You blink. “Thought you already gave me one.”

She scrunches her nose, answers, “I was only being polite.”

“I think we’re well past that.”

There’s that gravity again; shifting around Mina, tilting the world towards her until she’s pulling you into her apartment and you’re kicking the door closed behind you.

“Then hurry up and take me upstairs.”

—

There’s a part of you that feels like you should warn Mina when she tells you:

“Look, you’ve kept me waiting too fucking long. I need your cock, your cum inside of me. Right now. Before it’s too late and I change my mind. So, just please, please, please—”

But those kind of thoughts are lost halfway up the staircase; when you both decide that you just can't wait anymore, and your hands are back on her hips and your tongue is pushing into her throat.

Her fault, really.

Stripping you down the hallway, leaving a trail of your clothes through her kitchen; taking you by the cock. Firm, confident pumps as she leads you through her penthouse, refusing to give you a moment to breathe.

Because she’s obsessed with it. Obsessed with how it fills her hand, how it jumps at her touch, how it throbs when she squeezes it, strokes it.

“So big for me," Mina's says—to you, to herself, to your cock. "So perfectly, impossibly, big for me."

You’re never going to make it to the top.

Pressing her up against the banister, kissing her, hard. Deep, bruising kisses, because now that you’re out of the garden you don’t give a fuck if you’re leaving marks.

You just want her to remember this night, to feel it in every pulse and every breath.

Make her think of you when she’s with him, if she can even go back to him after this. Because you’ll both know that she’s yours even when she’s not.

“You’re going to ruin me, you know that?”

You look into Mina’s eyes. You can see it all, how the rest of the night will play out. You and Mina, tangled in her apartment. You and Mina, on top of the kitchen island. You and Mina, against the shower walls, on the living room floor, maybe even on the balcony.

You and Mina, until the sun rises.

You kiss her harder. “Is that a request?”

“Of course it is.”

Because now you actually have the time to appreciate her, to let your hands wander.

They glide over her body, mapping it out again, but slower this time. You've had your fill of the frantic touches, the greedy need. This is something else. This is savouring.

You start with your thumb at her navel, tracing the line down to her hips, then back up against to the base of her ribcage. It’s the feel of the muscles in her stomach tensing and relaxing as you touch her, the inhale and the exhale. How ridiculously tiny her waist feels in your hand, how your palm fits so perfectly into the curve of her side that you swear she’s been tailored for you.

Mina chokes on her breath as she tells you, “You’re going to have to stop, or we’re not going to make it to the bedroom.”

You don’t even slow down. You just don’t care.

Your hand rises, higher, finds her breasts again; cupping it in your palm. A thumb rolls over her nipple.

You pinch. She gasps.

You smile into her neck. “So, so, sensitive.”

Mina’s so willing, so keen to give herself over to you, to your touch. You’ve proven yourself to her already, made her cum with just your fingers and tongue. Now it’s just a matter of doing it all over again—but slower, better, more thorough.

You palm her breasts, rolling and pinching them until they’ve been given the attention they deserve, until she’s panting through your teases and caresses. Kneading the soft flesh beneath your hand and making her arch into your touch.

“You’re really going to take your time, aren’t you?” Mina mewls, half-sigh, half-plead. Grinding herself into you, making a shimmering mess on your waist. “Going to torture me until I can’t breathe.”

“It is your fantasy.”

Pull her closer, take a handful of that perfect ass once again. It hasn’t really been that long since you last had it in your hands but it’s all you’ve had on your mind. What it looks like under proper lighting, what it feels like without the dress in the way. What kind of noises will she make when you grope, and she doesn’t have to worry about anyone overhearing.

Press and squeeze, dig your fingers into her flesh. Not rough, but firm. Leaving little spots of red that will be gone by the morning.

Slide your finger down, down between her cheeks, and deeper, pressing into the sweet heat of her ass.

And then you feel it.

Her asshole. Wet and slick. Prepared.

A wink. A laugh. "Not my fault you're predictable."

You can’t fucking wait anymore.

She’ll just have to settle for the staircase.

Grab her by the hips—her ass, and pull her down with you onto the steps, her legs straddling you as you sit down.

Take her in—all of her. The curve of her, the line of her spine, the fucking paradise that’s her cheeks. Unbelievable.

You kiss into her back, follow down that trail right to where it swells, feeling the heat of her skin against your lips. You’re going to ruin this ass; permanently plant your flag there, mark it as property of you and your cock until she can’t take a seat without cursing your name.

Mina's shoulders tense when you pause, and she looks back over to you. There's a flash of nerves in her eyes, a gasp of "Here?" that's so faint you almost don't catch it.

Another kiss into her skin, you murmur, “Here’s perfect, Mina,” and she sighs when your finger presses against that puckered ring, cold with lubricant, made as ready as she’s ever going to be.

It’s the preparation that gets you; the idea of her in anticipation for you, for this, making sure she’s nice and primed. Mina at the store, still wearing that dress, fresh from her orgasm, buying lube. Mina in her bathroom, stripping herself bare, toying with her asshole, making it perfect for you.

And Mina, now, eyes clenched shut, breaths heavy as your digit is pushing through, slipping into her, and she’s so fucking tight around it.

“Oh my god,” she hisses through her teeth, a quiver in her legs as you push deeper into her tight channel.

Your hands shoot to her thighs to steady her, a reassuring anchor to keep her from toppling over as your finger fills her completely, twisting and turning, slowly but surely easing her into the idea of being taken.

It’s the moans that get you, the sighs as you intrude inside her. She’s so responsive, her breaths skipping and her pussy already starting to gush, coating your finger, your thighs, the steps below.

“You doing okay?”

“Yeah—yes,” Mina stutters, her footing slips just so, but she catches herself on the banister. “It’s—it’s intense. So intense. But don’t stop, I can take it. I want—I want more. I need this. I need this now, before—before I take all of you inside of me."

“You want more?” You repeat her words, before giving her what she needs—adding a second finger, pressing them in deep, making sure she’s good and open. The lube helps, but it’s the eagerness that gets her most of the way there; it’s that trust that she has in you, her willingness to let you take her here, in this way.

“Yes, please,” Mina cries, doing everything she can to not collapse on top of you, to not come completely apart.

You’re merciless, adding a third finger, stretching her until she’s panting, until she’s crying out, making this noise, this hushed whimper that takes the shape of your name.

“Please, please, please,” Mina whispers to herself, pushing back against you, starting to rock back onto your hand, taking your fingers into her ass.

“Not yet, Mina, not yet,” you tell her, because even though she’s close, even though she’s begging, you want her to be absolutely fucking desperate for your cock when the moment comes. 

You reach around her with your other hand, finding that button, already swollen and begging for attention. Playing with it, gently at first, a soft pressure to help her let go, to allow herself to let her voice echo up the staircase and through the penthouse.

God, how is she this sensitive, reactive to every little touch, to every exploration of her cunt, her ass, her body.

It’s the ceremony of it all; this lurid, obscene ritual that you’re walking her through. Making her ass bounce on your hand in this hypnotic movement, making her stretch around your fingers, making her repeat your name over and over until she’s convinced herself that all of her belongs to you.

These perfect, near-silent sighs. This unbelievable tightness. Mina’s body, turning itself into a fucking playground for your touch; to do with it as you will. Even if it means ruining her.

And it’s when you have her creaming all over you; down her thighs, making a mess of herself with these pushes and pulls, these declarations of how ready she is for you, that her body shakes with one last, long shiver.

She cums.

Softly, soundlessly, another cry of your name dying on her lips. A hand to your wrist to stop you abruptly, panting.

Tiny, tiny shivers, twitches in her thighs, around your fingers, leaving her barely there, barely with you. Head hanging low, chest heaving, catching her breath, putting herself back together again.

Time stretches before she's cognisant again, and she turns back, looking over her shoulder and straight at you. Eyes half-lidded, hazy, dripping with lust, anticipation, burning with need.

Deep, heavy breaths. And then Mina says the most devastating thing:

“I’m ready. Fuck my ass. Now. Please.”

A gunshot in the quiet of her home, rumbling through your bones.

Your fingers leave her ass, her cunt with a wet pop, forcing a whine from her throat at the sudden emptiness. A look at her asshole, how it clenches and unclenches, beckoning for you to fill it, to claim it as your own.

“Good girl.”

Holding her by the hips, lining her ass with your cock, nudging her opening with your tip and making her shiver. You don’t go in immediately; you hover, giving her one last out, to really see if she’s absolutely certain.

Mina trembles. Nods. That’s all the invitation you need.

“God, I—”

You push in, slow and steady, eyes on her ass as she takes you. So fucking tight, so intense, you can feel every part of her squeezing, accommodating you, moulding itself around your girth and swallowing you whole.

“Take it slow, darling, take it slow,” you whisper into her skin, guiding her down, telling her how good she’s doing, how good she is for you, how much you love her tightness, her trust.

It seems impossible at first, the grip she has on you, like you’ll never get in. But inch by agonising inch, she takes you, and it’s nothing short of total heaven.

Mina, so fucking beautiful in this moment of raw vulnerability; all sharp inhales and strained quivers wrecking through her, voice shaky as she tells you, “I’ve never felt anything like this, I never thought—fuck—I never thought I could take anything like this.”

“You’re doing so good,” you kiss your words into her, wrapping your arms around her, holding her.

“I can—I can do better,” she gasps, and you believe her.

But you still go slow, so painfully slow, even though every fibre of your being is screaming at you to just dig into her hips and slam into that glorious fucking ass and never look back.

“I can take it,” Mina breathes, “Do it, I can take it. I want all of you. In my ass. I can handle it.”

Mina nods, clenches her ass, her cheeks firming up around your throbbing cock.

“I want it to hurt so good.”

No more convincing required. You push in deeper, make her back stiffen, her muscles contract, making her cry.

It’s a dance, a delicate ballet of bodies, of breath and touch, of your cock inside Mina’s ass. Lost in it, in the feel of skin on skin, the sound of wet, needy noises that she’s making, her shudders in your arms.

Until finally, with a strangled gasp, she’s fully seated. You’re buried in her tight, hot ass, basking in the warmth of her, leaving you both winded and struggling for air.

Stillness overrides the moment, because it’s too perfect, too overwhelming, and the feeling. You need to get used to the feeling.

You break the silence first. “Mina?”

“I know. I know.”

A kiss against her neck, scraping the soft skin there. A whisper in her ear, your breath hot and ragged.

“I’m going to fuck your ass now.”

You always keep your promises.

Mina answers by leaning back into you, her hand finding yours, her nails running along your fingers as if to say, “Yes, please, now.”

Moving, so slow it’s almost painful. The drag of her ass around your cock like nothing you’ve ever felt before—like you’re sliding through warm, velvet-covered steel.

“Fuck, yes, please,” with every inch you pull out, and “Too much, so good, too fucking much,” when you push back in, deeper and deeper still.

It builds and builds, this sweet agony, each pass in her ass faster, harder, turning Mina’s cries and wails into moans of pure bliss. It takes time and long, hard fucking for her body to relax into this rhythm, letting you take her, own her.

A vision above you, sweat glistening on her back, hair matted and sticking to her shoulders, and Mina’s ass, a snug ring around your cock. You watch as your cock slides out of her, the way her ass clenches around the head, holding on for just a second before pushing all the way back down.

You can’t help but groan, “Christ,” as she moves on top of you like that. So gracefully, so beautifully, so fucking obscenely on your cock.

“Thank you—God—thank you, thank you, thank you.” Mina’s moans are pure music to your ears, she’s babbling, talking through the pain, through the pleasure. “So, so good, filling me like—fuck—never been filled up like this.”

And as you push on, push further and further until your cock is melting inside her, burning her up in every way she's ever dared to dream, you can see the smile curling onto Mina’s face. It’s pride, you’re realising. Proud of herself, proud of how she can take you, how she can handle this kind of depraved ecstasy.

“It feels so deep.”

Tearing her open. Revealing the tender, delicate core beneath the glamour, the lights, the unreal beauty that is Mina. Leaving her sobbing, pleading, whining for more, more, more.

Bouncing on you now, each more assured than the last, cries of nothing but need. Opening up to accept you fully, completely, her ass a tight fucking sleeve for you, coming down and wrapping itself around you like a searing hot second skin.

You know the truth, but you still want to hear it.

“How many?”

Mina has her answer ready: “You’re the—you’re the first.”

You grin. A smug, triumphant baring of teeth that spreads from ear to ear. “I have no fucking idea how that’s possible. How nothing has ever been up this tight, perfect little asshole.”

“Oh, there's been toys,” Mina moans, strained and shaky as you pump into her, “But you’re just the first that's real.”

“Then your boyfriend is a fucking idiot,” you growl into her ear, your hand moving to her throat, gently clasping, making her gasp, making her eyes go wide with shock, with excitement. “He doesn’t know what he has.”

“Enough about my boyfriend,” Mina's quick to answer, snapping, her head thrown back, eyes screwed shut. “Even though—even if—he wouldn’t, couldn’t dream of filling me like this. Filling me up so much that it hurts, so much that—fuck, it feels so right, so fucking right—”

“You love this, don’t you, Mina?” You ask, but all Mina can do is nod vigorously, too overrun by the fucking to form words. “Underneath it all, you’re just a dirty slut for it, aren’t you? Letting me use this pretty, tight ass like this.”

“I—” she stutters, right before confessing, “I love it.”

She slams her hips down on you, the stairs groaning with each thrust, not built to withstand this kind of punishment.

“I love that it’s you, love that you’re the first. I can’t believe it—just—I need it. I need your cock in me, so deep—I need you, I need you, I need you—so please don't stop.”

“I would never dream of stopping.”

Never.

Not when she’s begging like this, her voice hoarse and her body quaking. When she sighs and shivers every time you fuck a little faster, push a little harder, testing just how much she can take.

Tits jiggling with every thrust, cunt leaking all the way down your thighs, ass puckering and loosening.

Her whole body, yours.

Yours for the taking. Mina’s divine body, in all its sharp planes and ridged muscles, squeezing and coiling at every juncture, every penetration setting her alight.

You declare it, even though it doesn't need to be said. “Made for me.”

“Yes,” she’s nodding. Or rather, letting her head fall into one. “God yes.”

“Just been waiting for me for so long, haven’t you? Been waiting for the right cock to come along and split you in half.” You’re saying these things, these stinging words that you fuck into Mina, send shooting through her like sparks. She’s a live-wire, a fucking blackout waiting to happen.

Weeping down her thighs, choking out every whine, “Yes,” she whispers, “yes, yes, yes, been needing to be ruined. Needing it, needing you. So much, so much, so—fucking—right—”

“Fucking criminal that you had to wait,” you’re saying, loving this, so enraptured by all of it. “But I’m here now.”

Mina shivers, pussy clenches, and she just can’t stop saying, “Yours, yours, yours—”

Completely, totally yours, now.

You know it. She knows it.

It’s written in the way she takes your cock, in the way she loses herself to you, loses all semblance of composure and decorum, peels back all the carefully curated layers that make her Mina, until all there is to see and touch is the raw, unfiltered need that you’ve unleashed from underneath.

"Touch me, fuck me, take me, take my ass, I need more—"

Again, your fingers find her folds, sticky and swollen and waiting.

You touch her, press down on her clit. Circling it with the same rhythm as your hips. Striking a match in a dark room, lighting up her body in this blaze.

The noises that it all makes; the slosh of your fingers at her cunt, the squelch of your cock invading her ass, so fucking explicit, so fucking filthy. 

She’s erratic, breath catching, throat pulsing against your fingers, and she somehow, impossibly, clenches even more around you, suffocating your cock with just her tight, tight ass.

You keep that same tempo. That desperate, fucking unyielding beat that’s going to make her come, going to turn this idol, this mystery, this drop-dead fucking gorgeous woman who should belong to someone else but is now screaming proudly just how much she’s yours, into nothing but a trembling mess of whimpers and whines.

“More, fuck—oh my god, oh my fucking god—it’s so fucking good—so good—so fucking good—”

She’s reaching her peak—her voice, her body, her cunt, her ass—all of her reaching that perfect crescendo of pleasure that you’ve been orchestrating, that you’ve been waiting for.

“I’ve never—no one’s ever—fuck, fuck, fuck—”

Sinking into her, making her feel like she’s being torn apart and remade with every stroke, making her feel nothing like she’s ever felt before, making her feel like nothing but your fucking whore.

So, so close, barrelling towards it now, all these tears running down her cheeks, these filthy words slipping from her lips. Coming apart in your arms, because she’s never been this filled, this complete.

“Going to—going to cum—fuck me, harder, harder—going to cum all over your cock—” Mina tells you, a warning, the last one you get before she screams, “Too good—filling me—so good—give it to me—God—I can never go back—”

She shatters. Monumentally.

Into a million tiny pieces of pleasure, each one more brilliant than the last.

Her body spasms, her ass squeezes so fucking tight around your cock that you can feel the orgasm ripping through her, up her spine, through her throat, until she’s crying out and it’s hitting your ears—

“Oh my God, I'm going to—just, say my name—please, say my name when I—”

“Mina,” you say, and she cums.

“Mina,” you repeat when her pussy floods over your hand, ass smothers your cock.

“Mina,” again when it ripples across her skin, leaves her in fits, uncontrollable quakes, consumed by pure, unfiltered joy.

You watch the whole thing—watch her scream your name, watch her shake and quiver and fall apart, right there on your cock; and you're fucking her through it all, fucking her well past it, chanting “Mina” over and over again.

You'll never forget this, never forget this sight—this woman, this star, built up and broken down just for you.

“Mine,” you bite into her ear, because now, it’s true.

Mina’s barely there, eyes glassy, hand cradling your face. But she’s able to say it, because it’s branded into every bone of her body: “Yours.”

It’s a complete disaster.

And now you're cumming.

Brand new sensations, devastation in full measure—your soul ripped from your chest, until all that’s left is this impulsive, overwhelming need to give her your all, your everything—to fill her entire existence with just you.

You drive your cock into her once more, impaling her deep, and let go.

It floods her, rushes inside her, spills and spills.

Mina can't do anything but feel it—every pulse, every spurt. She throws her head back, her mouth open in this silent plea, satisfaction painted across her face as your heat surges inside her. Her ass milks you, needy for every drop, so, so thirsty for it.

“It's—cumming inside my ass—so, so nice, keep cumming for me.”

You hold onto her, throb inside her, pump ropes into her, and there's a kiss—hot and clumsy—somewhere in the midst of it all, your mouths colliding and tongues wrapping around each other in a futile attempt to last just that little bit longer.

Getting all dizzy and spellbound, floating back down to the ground as the last waves of your climaxes start to subside, until one of you says, “Thank you,” and the other echoes it back.

You stay like that, swallowed up inside her, dripping out of her ass. Lowering one hand from her throat, rising the other from her pussy, pulling her into an embrace, keeping her as close as you can while you both try to put yourselves back together.

It’s sex that soaks the air, fills the penthouse—sweat, lube, the musk of all the evidence you're leaving behind. Intoxicating, breathing it in, setting your nerves alight, rousing your cock inside her all over again.

But Mina, she’s a stunning catastrophe, torn asunder in all the best ways. Perfection not marred, but made better. Completed. Looking up at you with wonder, with gratitude, with a smile.

You look down at her and admit it, “Perfect.”

Mina laughs out loud, “Disastrously perfect.”

“This is going to be a problem, isn’t it?”

You kiss her once more.

Mina kisses you back.

“Only if we make it one.” 

—

You think you can read her mind.

And she, yours.

It’s the only way any of this makes sense—how perfect you fit together, how well you read each other; fill each other’s needs without use of any words outside of curses and names and strangled pleas.

Printed onto your DNA, carved into your bones, these exact pathways you shape through her home and into her skin.

You do make it to the bedroom, somehow.

And then, exactly as predicted:

The shower, where Mina takes you into her mouth, gags herself around you, covers herself in your cum before letting the water wash it all away.

Then the kitchen, polishing off a bottle of wine, slurring promises into Mina’s cunt, having her rake the back of your scalp and scream the same promises back into your ears.

And finally, the living room, folding her over the couch, tumbling onto the floor with Mina, riding you so hard the neighbours below start banging on their ceiling in protest. 

It's only the balcony that goes untouched.

Maybe another time.

But that’s where it ends: sprawled across a lush rug, sticky with sweat and cum and wine, naked and bare. Ignoring the watchful eyes of the photos that line the walls and shelves—family, friends, her boyfriend. Just living in this bubble where the sun will never rise and the world outside ceases to exist.

Getting to know each other in ways few people ever do.

Tracing patterns into the small of her back, asking these questions. Is this what you always imagined you would be doing? How you thought your life would be? Does it ever actually feel enough?

Mina pokes and prods back, her nails lightly scraping against your chest, leaving half-moons in her wake. Do you think you could ever be happy? Do you ever wonder why it’s so hard for other people to keep up? Are you fucked up in all the same ways as me?

And it’s so easy to answer truthfully, to be honest, because you’re both still maintaining the façade of this just being a simple fling; a blip along the timeline of your lives.

The yours and mine of it all, all those promises you were spilling. Just callous words tossed in the throes of passion.

They didn’t mean anything real.

Because it’s not like you’re going to see each other again, not like there’s going to be a mess of emotions and consequences that will have to be dealt with in the morning after.

Eventually though, the light does slip through the curtains, the clothes come back on, and you’re kissing Mina against the doorway and thinking of a million reasons why you should stay.

"So, how long are we going to pretend that this is normal?" You broach, and it immediately feels like you’re breaking some unspoken rule. 

Mina’s keeping herself busy, hands at your shirt, buttoning it back into place, one by one. Hiding away evidence that her mouth, her lips, her teeth were ever on you.

She looks up at you. Smirks. “Fucking ‘til the break of dawn, giving each other orgasms that never quite end? Flooding each one of my holes with your cum?” 

You tilt your head. 

“I don’t know. This whole thing is… unique. Uncharted territory and all.”

“It goes without saying, but, yeah. Same for me.” You echo, “Unique.”

You reach for her, smoothing her hair back. The early morning light makes it shine like a crown of jewels. 

“Do you want it to stay that way?”

Mina considers. Leans into your hand. “You think we should make a habit out of this? I didn’t pin you for the type.”

“Neither did I, but it didn’t seem so bad when you were riding me on that couch,” you tease. “And in the shower, and on the staircase, and in the kitchen…”

She blushes, lips caught between her teeth, looking like she’s struggling to hold in a laugh. There’s this glint in her eye as her hand wanders up to your cheek, thumb hovering just shy of your mouth. For a second, you think she’s going to kiss you again.

But instead, she just looks at you.

Eyes you with something close to fascination, something that makes your heart stop. And you're reading each other’s minds again, knowing you're both going to lie, going to pretend like this was just a one-night thing. Something the two of you can easily wipe your hands with and walk away from like it never even happened.

Because this really is the first time—you’ve never done anything like this before. Sure you’ve dipped your toe in the pool of commitment, paddled around in the shallow end, but you’ve never fallen for someone proper.

Never worried about what someone's going to be doing when you’re not there, never thought about whether you’d be better off sticking around to find out. 

But you have a job. A company to run.

And Mina, a career. A boyfriend. A life.

So, you don’t make plans.

You don’t even ask for her number.

You don't need to.

Deep down inside you know you’ll find her again.

For now though, you spin your bullshit: “It’s probably for the best if we don’t, though.”

“Probably.” Mina agrees, but she can hear the same ticking clock as you.

The timer that’s already started, counting down to when she’ll inevitably be undoing the same buttons, redrawing the same patchwork of red and pink across your chest, and pulling you into her home and into her; fucking her pussy, her ass, her mouth, in all the ways she needs, until you’re spilling out of her all over again.

 “Definitely.” Mina unlocks the front door. “For the best.”

[ir-abelas-vhenan]

Don't mind me, just revisiting the plot (again) and dying over this line (again). (These screenshots are going to be abysmal, but you'll get the point).

"To stop now would dishonor those I have wronged to come this far."

Yeah he's talking about Mythal (earned or not) and Felassan and Lavellan and Varric...but the way it applies to HIM, too, is what absolutely guts me.

Long post ahead...

Solas realizing that Lavellan doesn't care about how others see him or want to use him under the inquisiton, that HIS motivations as he has shared them are enough for her and worth defending against those who would tell him he's something he isn't. Solas, for the first time, being confronted with the realization that one these new elves he does not see himself in will still go to bat for him.

"You came here to help, Solas, I won't let them use that against you."

(Is he duplicitous? Yes. But intent on working against Corypheus? Undoubtedly).

“How would you stop them?”

“However I had to.”

“...thank you.”

Solas grappling with the fact that it wasn't just a one off, that this Dalish woman being faced with "hypotheticals" he's desperately been trying to get her people to entertain is jumping in head first, pushing back and disagreeing with him but never treating him worse for their differences and always admitting when he's helped shape a changing perspective. Solas daring to ask for help and marveling at the fact that he receives it, that the same woman who asked if it might some day be possible to live alongside spirits, who did not immediately shoot down his critique of THE CHANTRY REFUSING TO ACKNOWLEDGE SPIRITS AS LEGITIMATE BEINGS (GAH), who did not laugh at him for saying he preferred their company most days, this woman, is going to drop time and resources during war time preparations to personally help his friend.

And then, when he is too late and has once again failed someone he considers a friend, he disappears within himself, where he has always gone to exact punishment for the weight of the lives he believes he's betrayed. It almost works, too.

Psych. Lavellan doesn't want him to grieve alone, to stare at the place in the Fade where his friend used to be and think of all he should have done differently.

“The next time you have to mourn, you don’t need to be alone.”

“It’s been so long since I could trust someone.”

“I know.”

“I’ll work on it. And thank you.”

And still she unbalances him, accepts him, wants more. Solas is sharing a personality that brings him the closest he has ever been to his spirit form, and it is ENOUGH for her. Existing as he has always dreamt of is all takes to earn her loyalty, respect, and eventually love.

But does she stop there? No. She doesn't chafe at this random apostate who speaks with certainty and unapologetically delves into a past he believes worth preserving, even at the cost of questioning her culture as it currently stands.

The very woman he once thought of as a mistake that HE unleashed upon the world is asking to be a part of his, not because of what he can bring to the table, not because she needs a right hand man, and certainly not because she thinks he has some well of power and intelligence critical to winning over enemies she’s willing to join for "supervisory" purposes (cough cough hi Mythal). She bears the weight of choices that can and will lead to death, to pain, and when it wears on her she relies on him, not for solutions but so that at the end of it all she might smile with someone who knows her heart and the good she tried to do amidst a sea of terrible options. She wants to be known, no inch of her unturned, and worse, she thinks she knows him. But how could she? This is no longer who he is, it is merely the remnants of what he destroyed to make a world at Mythal's whim.

“You’re an admirable man. Not many people know who they are the way you do.”

“Thank you. Both for saying that and…for seeing that. Few in this world can see me instead of just seeing a pair of pointed ears”

She. Sees. Him. Every part he slowly is realizing he wants to be known for and even a few he thought he could hide. And then he gives it all up. Because he woke to a new world where spirits and elves and mages were so far removed from the role they played in Arlathan that it can only be yet another mistake he caused and must fix, never mind the fact that the dwarves have forgotten why they fled underground millennia ago in the first place.

The friend who tore him from the world he loved, urged him to take physical form? She is dead, too, never mind the fact that she ignored his urging for a different path, nevermind that he killed and tore and hurt in her name because otherwise what was losing the part of himself he loved for?

"A spirit becomes a demon when denied its original purpose.”

“It hurts. It always does, but I will survive.”

“You bound it to obedience, then commanded it to kill. That is when it turned.”

He may no longer recognize where the Dread Wolf ends and where Solas begins, but if he gives up now and permits himself the chance to remember, the pain he caused himself and others means nothing, because he did it all for Mythal and in his final discussion with her, regardless of what Veilguard tries to convey, she does not release him from his position as her agent.

And maybe that's part of why I'm so angry, because EVEN BEFORE TRESPASSER, the fragment of Mythal that ends up in Morrigan could have freed him, but she does not.

"I am sorry." He whispers.

"The failure was mine," he tells her, voice trembling. "I should pay the price."

Silence.

And do we get that "what we did, we did together" psuedo-fake ass-absolution, the one that, if given enough time and safety to put himself first he may have realised he doesn't truly need to pursue the things he deserves, that make him feel finally like himself again? No the fuck we don't.

"As am I, old friend." She murmurs.

Looking through the lens of Veilguard, this isn't an apology, it's a condemnation. It's Mythal tormenting him one more time, twisting the knife deeper, agreeing that it is Solas alone who has brought them to this point, who deserves to be punished. And then she reminds him what they are to each other, what he is supposed to be to her. What he must become again.

"It isn't abuse if I ask," Cole says in his personal quest.

"Not always true," Solas shoots back.

So he recommits to the friend he gave up his nature for, he refuses to let himself remember that Lavellan learned the full truth of his identity and still begged him not to mourn alone. Even so, he still cannot quite forget.

Var lath vir suledin. Our love will persevere.

I wish it could, vhenan.

And so he pushes onwards, spending almost a decade denying himself his true nature and regretting that he ever gave it a chance to come through because now he KNOWS that this world is different and a little broken, but it's a world he could be a part of because of the woman and the friends that made a place for him. It is a world that doesn't necessarily need to be restored as much as it might need renovation, but that is not the world Mythal demanded of him when she let him kill a remaining piece of her. And any solution but that means the hurt of taking a body, of hurting the titans, of time and time again being called on by one evanuris to fix a problem they all caused, was for nothing.

And a Pride of that magnitude, that sinister an origin, has a long, long way to fall.

And then that same uppity little shit has the audacity to tell him it's not too late, that he can turn back.

He kills again. He kills again. He kills again.

He kills a friend.

He fails to prevent the Evanuris from wreaking havoc a second time, wrenches another innocent into his war, and when they ask him about the woman he calls vhenan, he feels the mask stifling him begin to suffocate. But he never lets it fall, because to surrender now is to place her broken heart atop the pile of regrets he's been holding up like Atlas crumbling beneath the weight of the world itself. Because he still thinks it selfish to want the things that make him feel like himself again, so they need to be taken off the board entirely.

"To stop now would dishonor those I have wronged to come this far."

If he gives up now, his entire corporeal life has been a betrayal of many, but worst of all, he will have ruined himself for nothing.

But then she's there. A little older, a little sadder, and still looking at him like she did the night he almost broke and instead carefully removed any suggestion that she had ever belonged to anyone but herself.

"Didn't you hear me?" Her every action screams as she kneels to meet his gaze like he did the day he took her arm (another failure, another sacrifice he cannot let be for nothing).

The tombstone in the fade is his greatest fear, but it is not his fate. Why? She will not let it be. It cannot be his din'anshiral if she is not beside him.

Lavellan may not have understood the depth of exactly WHEN Solas first came somewhere foreign and uncertain to help, but she never once failed to keep her promise. She refuses to let his initial desire to do good be held against him any longer. And when she sees him accept that not-quite-absolution-definitely-more-of-a-power-play from the god that saw what he was capable of and molded him into a weapon, she finds her in to make sure he doesn't walk off alone to mourn again, never again will she lose him to the expectations others have of him. No doubt she wants to find a way to sink the fingers of her good hand into that spectral visage and tear it away like he wishes to do to the veil. But she is not here for Mythal. She is here for her heart, and for the man who has been carrying it since the moment her lips met his in the fade ten years ago.

“No orders to kill, no conflict with its nature, no demon.”

She forces him to see that the only remaining betrayal is to lock himself away one more irreversible time. All that's left to lose is the piece of himself he cherishes more than his greatest victories: all that he has to gain comes from making sure the love that was given to him at Skyhold, in the moment where Varric saw all he was capable of and still tried to bring him back home, was not given in vain.

"There is no fate but the love we share." She tells him as soon as Mythal's too-little-too-late platitudes send shudders through his body.

Banal nadas ar lath'ma vhenan.

It will not be so terrible a place, so unforgivable a betrayal if he can finally dare to put himself first. If, unlike that night in Crestwood, he finally gives in not to break, but to make himself whole.

There's a codex entry in Inquisiton about a spirit of wisdom who is summoned by researchers and only after a very pleasant conversation do they realize they made a mistake and never successfully bound the spirit in the first place, that it chose to speak with them of its own accord.

"I am not certain the spirit would have talked so freely had it been shackled at the time," writes the author of the entry.

I keep thinking about this alongside the datamined line of Morrigan saying, "And so, the Dread Wolf is stopped by, of all things love."

But that isn't quite right, is it?

Because in the end, of course the Dread Wolf could only ever freed by, over everything, love.

[hayatheauthor]

12 Red Herrings to Keep Your Readers Distracted

I’ve seen mystery/thriller authors use the same handful of red herrings too many times to count. So here are some (hopefully not as common) red herrings for your writing. 

1. The Unreliable Narrator's Bias

Your narrator can play favourites and scheme and twist the way your readers interpret the story. Use this to your advantage! A character portrayed as untrustworthy can really be someone innocent the narrator framed, vice versa. 

2. The Loyal Traitor

A character with a history of betrayal or questionable loyalty is an obvious suspect. They did it once, they could do it again, right? Wrong! They’ve actually changed and the real traitor is someone you trusted. 

3. The Conflicted Expert

An expert—like a detective, scientist, or historian—analyses a piece of evidence. They’re ultimately wrong, either due to bias, missing data, or pressure to provide quick answers.

4. The Overly Competent Ally

You know that one sidekick or ally who’s somehow always ahead of the curve? They’re just really knowledgeable, your characters know this, but it makes it hard to trust them. Perfection is suspicious! But in this case, they’re actually just perfect. 

5. The Misleading Emotional Clue

Maybe one of your characters is seen crying, angry, or suspiciously happy after xyz event. Characters suspect them, but turns out they’re just having a personal issue. (People have lives outside of yours MC smh). Or it could be a cover-up. 

6. A Misleading Alibi

At first this character’s alibi seems perfect but once the protag digs into it, it has a major hole/lie. Maybe they were in a different location or the person they claimed to be with was out of town. 

7. The Odd Pattern

Have a seemingly significant pattern—symbols left at crime scenes, items stolen in a specific order, crimes on specific dates. Then make it deliberately planted to mislead.

8. The Misinterpreted Relationship

A character was secretly close to a victim/suspect, making them a suspect. Turns out they were hiding a completely unrelated secret; an affair, hidden family connection, etc.

9. A Forgotten Grudge

Create a grudge or past feud and use it to cast suspicion on an innocent character. Introducing an aspect of their past also helps flesh out their character and dynamics as a group + plant distrust. 

10. The Faked Death

Luke Castellan, need I say more (I will)? A supposedly innocent character dies, but turns out they faked it and were never a victim in the first place. They just needed to be out of the picture. 

11. The Mistaken Eavesdropper 

A character overhears a threat, argument, etc. They suspect B based on this convo, but turns out they just came to a false conclusion. (Or did they?)

12. The Forgetful Alibi 

Someone confesses to hearing/seeing a clue, but turns out they were mistaken. Maybe they thought they heard a certain ringtone, or saw xyz which C always wears, but their memory was faulty or influenced by stress.

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[ktownshizzle]

Friends & Fools | One-Shot

Pairing: Min Yoongi x female Reader

Summary: You and Yoongi have always been just friends—inseparable since childhood, roommates in the city, partners in navigating life’s chaos. At your high school reunion, the questions start: Are you two finally together? Uh, no. But as the night goes on, and Yoongi looks at you like that, hmm—has everyone else seen something you’ve been too scared to admit?

Genre: Fluff, Suggestive, non-idol!au, reunion!au, best friends & roommates to lovers, grumpy x grumpy, when reader is more yoongi than yoongi himself

Warnings: cursing, smoking cigarettes, kissing, allusion to sex

Word count: 2.8k

Posting date: November 26, 2024

Notes: This is a one-shot to celebrate my 500 followers milestone for the blog! Just a cute little something as a thank you making this writer happy. The story was inspired by two asks: 1) lovely anon who wanted to talk about Yoongi at Jimmy Fallon; 2) kookiewithluv who sent me the softest, smiliest, fluffiest d-day Yoongi photos that I just couldn’t help myself.

Enjoy, my lovelies~ 💕

Masterlist

MIN YOONGI 101 is a course you could’ve taught in school. It’s a subject matter you’ve mastered somewhere between the sandbox (when he was the kid hoarding plastic shovels in the playground) and the shoebox (the over-priced apartment that you both decided to rent together after uni).

It’s ‘cause you’ve always been good at watching him. You’ve picked up all his visual cues, his weird quirks, his tells.

Tonight is no different. From across the room, in the too-bright glare of your high school gym’s rented stage lights, you catch the tell-tale pinch of his brow, the mindless nodding that means he’s enduring yet another overly enthusiastic former classmate. Someone’s laughing too loud in his face, and he responds the same way he always does—with a small, polite smile and a glance at his drink like it’s his lifeline.

You’d know that look anywhere.

Yoongi catches your eye then, like he can feel your energy slicing through the crowd, and his lips twitch. The faintest ghost of a smirk, the kind he reserves just for you. He raises his glass, and you do the same from across the room. A silent message of we're too fucking sober to be in this joint.  He holds your gaze and you watch as he inadvertently inserts the straw up one nostril, giggling because that wouldn’t be the first time. He shakes his head and puts it back in his mouth for a sip.

It’s comforting, really. That tether between you and Yoongi.

Even if the two of you are apparently the only ones here who don’t see what everyone else does.

You are standing by the endlessly classy boxed wine on the buffet table, watching your old classmates get progressively tipsier under dim lighting. Yoongi stands next to you, unabashedly drinking whiskey straight from his flask. He looks real sharp in a tailored blazer, with a casual t-shirt underneath, mumbling earlier that day how he cannot be arsed to fiddle with a necktie, even though it’s always you who has been fixing it for job interviews, funerals, formal occasions etc. for him for the past years. Secretly you think he knew that wearing that t-shirt actually just made him look effortlessly cool.

Someone from across the room waves, and you recognize it to be Hyorin, your former lab partner who was also a cheerleader or something, making her way toward you. “Oh my God, you two!” she exclaims, beaming. “You finally got together, huh?”

Yoongi chokes on his drink, and you nearly drop your solo.

“Nooo,” Yoongi drawls, dragging the word out with a mix of disbelief and amusement.

Hyorin frowns, tilting her head. “Wait. You’re not a couple?”

You both shake your heads so emphatically it looked rehearsed. 

“Nope,” you say, popping the P.

“Not even fucking?”

The audacity of this chick, though?

“Not even close,” Yoongi answers, but his voice sounded oddly tight. 

Hyorin gives you both a skeptical once-over before laughing. “Okay, sure. Whatever you guys say.” She leaves, shaking her head like you’ve just told her the earth is flat, didn’t you know that?

They’re really starting to piss you off, ngl.

“Okay, but seriously,” Jihyo, who was in the band with you and one of the few people you’ve kept some form of contact with (hence can tolerate), hisses. “You’re really still not together?”

It was your turn to choke on your drink. “Hajimaaa! Why does everyone keep asking me that? Y’all wanna shoot your shot with Yoongi, go! I don’t give a fuck.”

Jihyo gives you a look like you’re the most oblivious person on earth. “This is exactly why I think you’re into him. Not everyone wants to date him, girl. We’re just curious about you two.”

“I—fuck you, actually. Give me one good reason why you think we’re a… thing.”

“Because you and Yoongi have been attached at the hip since we were all kids? Because you practically morphed into the same person? Because he’s literally looked at you the same way since he had that awful mushroom cut in fourth grade?”

“It wasn’t a mushroom cut. It was…” You cringe. “Yeah, it was a mushroom cut.”

You both giggle, then she asks, swirling the remains of her wine. “But seriously. Everyone thought you finally figured it out. You two moved in together a couple of months ago, no?”

“Yeah, because rent’s insane, I hate people, and he hates people, so we’re perfect roommates.”

Jihyo raises a skeptical eyebrow. “Mmhmm. Roommates. Sure.”

You roll your eyes, but the words stick with you as the night drags on, looping in your head as more classmates approach with the same comments. It’s exhausting. You’re about to grab your coat and drag Yoongi out of here when you feel a familiar figure at your side.

“You okay?” Yoongi asks, voice low, his shoulder brushing yours. 

“I’m fine,” you sigh. “Just… everyone keeps asking why we’re not dating.”

Yoongi scoffs, his tongue clicking against his teeth. “What’d you tell ‘em?”

“The truth.”

He smirks again, but it’s sharper this time, laced with something you can’t quite name. “And what’s that?”

“That you’re a chronically unavailable workaholic and are too emotionally constipated to be anyone’s boyfriend.”

He huffs a laugh, shoulders bobbing. “Ouch,” he says, but his eyes are soft, the way they get when he looks at you sometimes, warm and wistful.

You look away first, clearing your throat, suddenly remembering what Jihyo said about how he looks at you. “Well, you’re not exactly ideal boyfriend material.”

Yoongi shrugs, mouth forming a straight line. “Fair.”

Anyway, you know you’re no dream girl, either. He is just way too soft for you to say it to your face.

Between the two of you, your combined dating history looks like a collection of UN flags, except they’re all red. 

Him with his too-whiny, needy bitches, who have far too high expectations of him and he is just not the guy to validate their feelings 24 fucking 7. He has things to do (produce) and places to be (his studio).

And you, with your love bombers and commitment-phobes that have got you questioning if there’s something wrong with you because they always lose interest down the line. (Yoongi says they're all assholes btw, and you are inclined to believe him, despite lingering self-doubt.)

You always joked that no one else understood either of you the way you understood each other.

But aren’t jokes half-meant?

By the time the reunion starts winding down, you’re tipsy enough that the edges of the night feel soft and fuzzy. You’re outside, leaning against the brick wall of the building with Yoongi, his jacket draped over your shoulders because he’s simply gentlemanly like that. Raised well by his eomma who you equally adore.

“You didn’t have to stay this long,” he says, lighting a cigarette.

You watch the glow of it as he inhales, the faint tremble of his fingers in the cold. “Neither did you.”

He shrugs, exhaling a thin ribbon of smoke. “I wasn’t gonna let you suffer alone.”

Something warm pools in your chest. “Thanks. And, same.”

The quiet stretches between you, the kind of comfortable silence only Yoongi can manage. It’s strange how natural it feels, just existing with him like this. Like it’s enough.

You gesture to the stick, then he slowly brings it to your lips.

You exhale the smoke as you tilt your head back to look at the stars—or what few stars there are on this cloudy night—and ask the question that’s been sitting heavy on your tongue all night.

“Why do you think everyone assumes we’re together?”

Yoongi doesn’t answer right away, but you can feel the heaviness of his gaze on you like it’s settling on your shoulders.

“I dunno,” he says eventually, voice quiet. “Maybe because we act like we are.”

Hol’ up. “What do you mean?”

He takes another drag of his cigarette, exhaling slow. “I mean… we know each other better than anyone else. We live together. Spend all our time together. Maybe they think it just makes sense.”

Your heart stutters. “Does it?”

Yoongi stills, blinks like he’s trying to suss out where you’re going with this. “What’s up with you?”

“I don’t know,” you admit, your voice teeny-tiny. “Just… do you ever think maybe we’ve been—”

“Idiots?” he cuts in, a wry smile tugging at his lips.

You laugh, but it’s shaky. “Yeah. That.”

Yoongi looks at you then, really looks at you, and you feel like the ground might give out beneath you. There’s something in his expression, something raw and vulnerable and scared. Like he’s standing on the edge of something, just waiting for you to push him over.

“Sometimes,” he says finally, his voice rough.

It’s not an admission, not exactly, but it’s enough to make your pulse race.

“Yoongi,” you start, but the words catch in your throat.

He snuffs the cigarette against the wall and tosses it towards the can. Then, he steps closer, close enough that you can see the faint moles on his face, the curve of his lashes as he blinks down at you.

“You wanna go home?” he asks, his voice softer now, almost hesitant.

You know what he’s really asking.

You say yes.

The walk to the subway station is quiet. Tense.

The back of his hand brushes yours as you walk along the sidewalk, and neither of you moves away.

The subway ride back to your apartment is also quiet. Tense.

Yoongi doesn’t say much, but his knee brushes yours every time the train sways, and neither of you moves away. 

By the time you’re back in your apartment, your brain is mushy and your head feels like it’s about to explode as you keep rewinding and replaying the events of the night, every classmate that alluded to your relationship, his lingering glance, sharing the cigarette, every half-formed word between you... Fuck.

Yoongi kicks off his shoes by the door, pushing it under the rack. You stand there awkwardly, the weight of everything unsaid pressing down on you.

“Tea?” he asks, already moving toward the kitchen.

“No.” Your voice comes out too abrupt, too sharp, and he freezes.

He turns slowly, eyes searching yours. “You ok?”

“No.” You take a deep breath, your heart pounding. “I think we’ve been avoiding this for a long time.”

Yoongi blinks, but you know he is just pretending not to understand what you meant. “Avoiding what?”

“This,” you say, gesturing between you. “Us.”

There’s a beat of silence, and then— “Mm.”

Mm. That’s all he says, like you haven’t just dropped a bomb in the middle of your tiny living room.

“Yoongi,” you say, stepping closer. “Do you—”

“Yeah,” he interrupts, nodding as he bites down on his lower lip. “I do.”

The air shifts between you, and suddenly you’re not sure who moves first, but then his warm hands are on your face and your fingers are tangled in his shirt and his mouth is on yours, and—

Oh.

Damn.

His lips are softer than you imagined—not that you spent countless late nights pining, but if you had, this would surpass every hypothetical. He kisses like he does everything else: deliberate, unhurried, sure. His hands slide down from your face to rest on your waist.

The sigh that slips from your lips is involuntary, but it’s enough for him to push further. His tongue brushes against your bottom lip, coaxing you open, and when he deepens the kiss, tasting you, it uncoils the knot that’s been tight in your belly all night. Yoongi tastes faintly like whiskey, like cigarettes, and something else so distinctly him and you’re endlessly intoxicated.

Your fingers tangle in his hair, nails grazing the nape of his neck, and the low, guttural noise he makes in response sends a shockwave through you. Heat settles in your core, spreading with an intensity that takes you by surprise. Because omg–this is not some hot stranger you met at a bar. This is your goddamn best friend, whose hand is now dangerously encroaching on the swell of your ass.

You hadn’t expected this—not the kiss, not the pleasure, not the way he makes you feel like you’re in some version of paradise.

You’re melting with every curl of his tongue, every shift in the way his lips move against yours. It’s the kind of intimacy that makes the rest of the world fall away, until the only thing you’re aware of is the feel of him—his warmth, his certainty, the way he kisses like he already knows this is how it should’ve been in the first place–a sureness you hadn’t expected. 

It’s not just passion—it’s belonging, the sense that every piece of you slots perfectly into place with him. Like the years of laughter, arguments, and everything in between have all been leading here. His hands now circling your waist feel steady, like they’ve always known where to hold you even though this is the very first time. 

And in that moment, kissing Yoongi feels like coming home—warm, certain, complete. A place you hadn’t known you were searching for, because you’ve always been with him, and now you can’t imagine ever leaving.

When you finally pull away, his lips are swollen, and his eyes are a bit moist, blinking blankly like he can’t fathom what just happened. His arms loosen their hold on you, just a bit, and suddenly, you can see the flicker of uncertainty in his eyes.

And for a second, your stomach churns, worried that the wheels in his head are turning and it’s telling him that this was not it.

Finally he speaks. “Was that weird?” 

You huff out a breath, a cross between a chuckle and a sigh of relief, because God. Yoongi could be pressed against you, breathless and flushed, and he’d still overthink. You really belong together.

“Not weird,” you say softly, brushing a strand of hair from his face. “Weirdly perfect, maybe.”

He exhales sharply, relief flooding his features. “Fuck, okay. Good. Because if it sucked for you, I’d have to move out. And in this economy???”

You swat his chest, laughing again, but then his arms tighten around you again, holding you close, and the teasing fades into something softer. It’s not lost on you that this is the longest you’ve ever touched each other. Two socially awkward fools who are secretly touch-starved now finally getting what they’ve been craving for but have been too shy to admit it.

“Seriously, though,” he says, a lopsided grin decorating his lips. “What happens next?”

You tilt your head, pretending to think. “Hmm. You could still make tea if you want?”

He groans, his head dropping to your shoulder. “You’re the worst.”

"Or…" you say, sliding your hands across his chest, your fingers lingering just enough to feel his breath hitch beneath your touch. You push his blazer off his shoulders, letting it fall to the floor with a soft thud. "We could… you know."

Yoongi lifts his head, and the look in his eyes makes your heart trip over itself. There’s heat there, sure, but beneath it lies something deeper, something that feels vulnerable. "Are we really doing this?"

And you know what he means. Because again, you know Min Yoongi inside out. And he’s known you. But now you’re ready to bare everything that’s left to discover.

"I’ve never been more sure of anything," you say, your voice steady in a way that surprises even you.

His tongue presses against the inside of his cheek, his last bit of hesitation melting away as he nods.

You step back, your movements slow, deliberate. Turning away from him, you reach for the straps of your dress and slide them down your shoulders, feeling the fabric loosen as you take a few steps toward his room. You glance back over your shoulder, a smirk tugging at your lips. "Are you coming?"

He grins, gummy and warm, and it’s so achingly Yoongi that your chest tightens. "I would hope so…"

You roll your eyes stifling a laugh, because he’s stupid, because he’s him. And because you’ve never loved (wait... what?) anyone more in your entire life. "C’mere then," you tease, the words soft, daring, as your dress slips to the floor and pools around your ankles.

He breathes out, a sound that’s almost a laugh, almost disbelief. "Okay," he says, his voice low, quiet, like he’s agreeing to something more than just this moment.

And maybe he is. Maybe this is the easiest thing in the world, the most inevitable thing that’s ever happened to either of you.

And now, finally, you’re both ready to admit it.

:)

A/N: EEEEKKKK Please tell me what you thought about the story! I'd appreciate feedback if you loved it, hated it, and if it made you feel a certain way.

Thank you for reading this you lovely, beautiful human xo 

& If you want to read more of my work, please check out my masterlist. & If you enjoy my work and want to buy me a ko-fi, I'd appreciate it.& If you want to be tagged for all future stories, you can sign up for the permanent taglist.

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[forthegothicheroine]

I don't know if you do requests for the Great Detectives, but I'd love to see how you think the Great Detectives would handle the murder of King Hamlet of Denmark.

This is a GREAT one! The big question is whether they all talk to the ghost of the dead king; I think I'm going to have to take that on a case-by-case basis, with whatever feels right for any specific detective.

So, in a series I do sometimes, how would various great detectives solve the murder of King Hamlet...

Sherlock Holmes: Well, obviously ghosts don't exist, so jot that down. But in Holmes's experience, living humans often pretend to be ghosts (or even make dogs pretend to be ghosts!) so who could this be? The young prince Hamlet, who everybody says has gone mad? Holmes deduces that he isn't mad at all, and is in fact conducting psychological warfare against his hated uncle; while Holmes disapproves, he concludes that the boy is completely right about Claudius due to his knowledge of the play The Murder of Gonzago, as seen when he's upset about changes in a production. The Murder of Gonzago is a play which premiered in a town in Denmark known for its manufacturing of poisons for pest control!

Hercule Poirot: Poirot is quite sad to hear that the monarch who invited him as a celebrity guest has died; why does this always have to happen when he goes on vacation? Polonius spies on the guy to see what he's up to, but Poirot is much better at snooping on people than he is, and nobody can keep anything hidden for very long. He gives a summation where he reveals Claudius killed his brother. Prince Hamlet immediately goes to attack his uncle and they struggle over a sword. King Claudius falls dead and Poirot bows out, because determining whether Hamlet should suffer consequences or just become king is not his department.

Sam and Peter: Hear me out- if we bump Hamlet down from ambiguously college-aged to ambiguously high school aged, we can replace Rosencrantz and Guildenstern. These two nerdy kids are shipped in to cheer their friend (more like acquaintance) Hamlet up, and to his surprise, they respond to his depressing monologues by taking notes and asking for further details on why the world is so corrupt. Hamlet isn't so happy about them doing an investigation into "What is up with Hamlet's super hot mom?" but when they suggest interviewing Claudius to see if he has the face of a liar, he enlists them to help out with putting on The Murder of Gonzago. The rest of the play mostly goes the same, but they find the letter Claudius planted on them and show it to Hamlet. One of the last lines of the play is when Fortinbras is looking at everyone lying dead, but then Osric points out "Sam and Peter are alive!"

Phryne Fisher: Phryne is a dubious (if genteel) woman Laertes has taken up with, whom Polonius is doing everything in his power to drive away. Phryne doesn't care, but it does bring her attention to the fact that the man is apparently constantly spying on everyone in the castle. On whose behalf is he doing this? King Claudius? Is he afraid someone may assassinate him because of his brother's suspicious death? What was the official story about that, anyway? She exchanges sexy insults with Prince Hamlet, refusing to be cowed, and ultimately agrees to play the queen in his production of The Murder of Gonzago (where she gets a little too into the love scene.) When she turns and looks directly in Claudius's eye in the audience during a crucial line, she can see the answer to everything. Claudius tries to convince Laertes to kill her, saying she corrupted Ophelia into being a whore for a mad prince, but Laertes can't go through with it and kills Claudius instead.

Dale Cooper: King Hamlet's ghost tells him who killed him in a dream, but Cooper doesn't remember. He befriends Horatio and tells him that in order to understand the death of the king, it is crucial for them to study an old Icelanic poem about a man who feigns madness, because the answer to the mystery lies somewhere within. Horatio doesn't totally get it, but he figures Cooper must know what he's doing and goes along with it. When everyone is gathered to watch a production of The Murder of Gonzago, Cooper first steps up onto the stage, guided by a spirit in the form of a snake wearing a crown, to announce that King Claudius killed his brother. Prince Hamlet immediately stabs his uncle. Determining whether Hamlet should suffer consequences or just become king is not Cooper's department.

Philip Marlowe: All I know is, most of this mystery involves him getting thrown off the palace grounds repeatedly and being told that a bum like him better keep away from King Claudius if he knows what's good for him. If he ever gets out of Denmark alive, Marlowe thinks to himself, he's never leaving LA during the winter ever again.

Sam Vimes: Vimes can actually interview the ghost, but that doesn't mean the case is closed. He's not worried about the ghost actually being a deceitful fiend, he just thinks there's a possibility he's wrong. After all, if Vimes was poisoned and his ghost found out some creepy relative immediately married his wife and took his job, he would also jump to conclusions! He spends a lot of time yelling at royal people and getting threatened with execution (Vimes doesn't know how his job ended up involving so many clashes with royalty, but so it goes), and is disrespectful of religion enough to spy on Claudius while he's having his remorseful confession. He can't arrest him, but he spreads the word around, and as the royal court dissolves into backstabbing and finger-pointing, Vetinari walks in with a full retinue (and more importantly, a list of all the debts Denmark owes to Ankh-Morpork) to evaluate the situation and congratulate Claudius on his "excellent decision" to abdicate. Claudius later dies of a totally natural snake bite in his ear.

Columbo:

Your Majesty, King Claudius, forgive My clumsy common nature. I am not A noble gentleman, nor do I live With such great honor as yourself- a thought, However, troubles me this night. For how Should some strange serpent come to bite a king? And why within his ear? It puzzles! Now, I beg that I may ask just one more thing…

[lost-romantique]

The Needs of Both these Messy Gays~

I just want to make a point and state that I'm not attacking or pitting both these guys against each other. They're dumbasses, the both of them.

Blitz is someone that is going to need constant reassurance when he's in a relationship.

Being told the words "I love you" scares the fuck out of him because he doesn't trust those words of love.

At the same time, romantic gestures don't work on him because he's always going to assume the worst.

"And then, he'll call me to see how my day was! And he'll pretend to care about me, and comment on my photos, and LAUGH AT MY JOKES—"

Blitz is someone that has used his body and sex as a way to get what he wants. But his relationship to sex is one of the reasons why he's unable to trust those romantic gestures.

Blitz constantly seeks reassurance, and he asks Stolas for that reassurance a LOT throughout Full Moon and Apology Tour...

"Am I not, like, fucking you good enough? Because I-I can always- I can always do better--"

Blitz immediately asks Stolas for reassurance that he's good enough, and that if he isn't good enough, he makes it a point to tell Stolas that he can do better.

Stolas responds to Blitz saying he cares very deeply for him, but being told he's cared about doesn't give him the reassurance he needs.

Blitz asks for reassurance twice from Stolas in Apology Tour...

"This whole thing we had going... I'm- I mean you're a fucking prince. How could you ever actually care for an imp... Me? How could anybody?"

"Stolas, you are better off without me. 'Kay? You deserve so much... I don't even know why you would want to be with me."

Stolas never says anything really wrong in his responses to Blitz, and I think Blitz himself needed to here that. BUT if Stolas were to make one mistake, it would be that he states that he wants somebody / anybody.

Blitz doesn't reach out to Stolas because of his issues in intimacy, and because Blitz himself hasn’t been given the reassurance that he's the one Stolas wants.

Do you know who does give Blitz the reassurance that he's needed? Millie.

Millie is able to give concrete examples to Blitz on how he made an impact on her life.

In fact, Millie states that Blitz is the reason that everything she has in her life is thanks to him being unapologetically himself.

"He gave me so much: a career, a husband, a future, and now... he's my best friend."

The moment Millie gives Blitz the example of how much she values him as a person and as a friend, Blitz immediately asks for reassurance...

"You... you don’t hate me?"

And Millie automatically says, "Nah, never."

The moment Blitz is given the reassurance that he isn't hated by Millie, he opens up, he becomes vulnerable.

Blitz allows Millie to comfort him, and Blitz initiates that intimacy with Millie to which she obliges.

What's beautiful about this exchange is that there isn't anything remotely sexual about it. This is just one friend comforting another friend in need.

Blitz asks for reassurance again in the form of a question...

And the moment Millie reaffirms that sentiment, Blitz opens up and shows Millie the real him.

Not the fuckboy facade, not the mask he wears... this is the REAL Blitz...

Blitz also shows incredible growth by not deflecting to jokes like he usually does, but instead by being honest with Millie...

Blitz promises to Millie that he'll stop impeding on her marriage

Blitz states in the most subtle way that he has feelings for Stolas

Stolas needs to be told that he's cared for and that he's loved by someone.

He's also someone that seeks romantic affection in the form of compliments, and big and small romantic gestures mean the world to him as well.

Blitz unknowingly makes Stolas’s romantic fantasies come true...

A rogue assassin comes into his bedroom to "scale the walls" and he acts like he wants Stolas a lot.

This man is attractive, he is literally the protagonist of a romance novel. His boldness and confidence is alluring. He is a dream come true and he's here to take what's his.

This man just literally sweeps Stolas off his feet, and he still does this while giving you the most smug grin.

Blitz throws Stolas to the bed, and gives him ultimate rizz in the form of this shit eating grin.

And the moment Blitz bites his neck, Stolas is so fucking into it he creams himself.

Blitz is so good actually, extremely good in being bold, confident, and sexy. He knows how to unravel Stolas. *cough*

In fact, the moment Blitz catches him, Stolas is smitten and he is down bad.

To Stolas, this is a big romantic gesture. This is a motherfucking dream come true for Stolas because, "OMG THIS HOT ASS MAN JUST FUCKING SAVED ME!"

But Blitz isn't a romantic, he's not good at showing romantic affection in small ways, and that's what screws him over.

Stolas wants and actively seeks the smallest bit of reassurance and comfort that Blitz can provide, whether it be through text and or in other small ways.

This motherfucking birb, this dumbass Prince, even when he has every right to be angry at Blitz for the shit he said to him, still wants Blitz to hold him. In fact, he makes him hold him.

Stolas is so fucking cute, being all like, "I'm mad at you, but I still demand you hold me."

"You wanna know what I want? I want to know what it's like, to not be alone. I want to be someone's someone. I want to feel wanted. But like, in a romantic way, like I'm standing out in the rain at a train station and someone is shouting: “Harriet! Don’t get on that train, it’s going to London and I cannot be without you!”

Harriet the Train is a big romantic gesture. Stolas likes big romantic gestures, and Blitz is really good at doing actions that are big and bold.

Blitz has made Stolas feel wanted in The Circus and he makes him feel protected in Seeing Stars. Blitz knows how to be big.

Stolas doesn't need Blitz to perform Harriet the Train, but can he? Oh fuck yes he can.

"The point is, I just... want someone to care if I stay or go. I want someone to want... me! To want to see me. To hold me. To look at me and think "You're the only one I want!" [sheds tears] "I desire to hold you and talk to you, and never let you feel so..."

This is what Stolas wants from someone right now. He wants to feel wanted in the small ways, he wants to be held, he wants someone to talk to him, to make him feel not so alone.

Right now, at this very moment, Stolas needs the small stuff. He needs the small bits of intimacy that Blitz is not in the right headspace to provide in Apology Tour.

Do you know who gives Stolas what he needs at the moment? Better than Blitzo guy.

He's smooth and charming in a different way from Blitz. He doesn't even look at Blitz, actually, his eyes are only on Stolas.

"Great song earlier. You have great pipes."

He compliments Stolas on his singing, and Stolas is happy to be given a compliment.

BTB than asks Stolas to dance, and Stolas is both surprised and in disbelief.

Stolas is so happy and genuinely has an amazing time dancing with BTB, he even goes out of his way to use his wings to give Stolas a spin.

BTB even performs a big romantic gesture of pulling Stolas into a sloppy wet kiss, to which Stolas happily reciprocates.

I think both these idiots have the potential to be what the other really needs, and I honestly think with proper communication they can have the most beautiful relationship.

[xinganhao]

✏️ sociology major!junhui x reader.

your roommate junhui has a habit of using his major on you ✶ part of my svt university milestone event

⤿ friendship, fluff, and they were roommates!!!, an academic paper for the hc. more content under the cut. ♡⸝⸝ prompt from @ore-pheus!

The Sociology of Love, Julia Carter Annotations by Wen Junhui

Love is interesting sociologically for so many reasons... It is a word that is used prolifically to mean so much, which means it is incredibly difficult to define and study. Love is interesting because it is everywhere and has a significant impact on our culture, society and lives, and yet we can know relatively little about what it actually means. Love is not something we can ‘know’- we have to investigate how it is represented socially and culturally. (Carter, 2015)

ANNOTATION: Carter positions love as an all-encompassing yet unknowable emotion. At the risk of sounding cocky, I don't think that love is particularly difficult to understand or find. This is simply because of recognition.

I recognize love. It's in the care and consideration of my parents. It's in the brotherhood of my friendships. It's in my roommate, who tolerates my incessant questions, who lets me get away with almost everything, whose fondness for me is sometimes more than what I deserve.

Love is everywhere. Carter is correct in that regard. It's simply a matter of seeing it, of calling it as it is, of spelling it out. Otherwise, we might spend the rest of our lives trying to justify our cowardice behind the guise of love as a 'mystery'.

So why does love have such power? Whether a private emotion, organising institution, normative expression, commodity, societal glue or legitimating ideology, love is clearly an important concept to understand and interrogate in modern society. (Carter, 2015)

ANNOTATION: Sociologically, the word 'power' is thrown around too lightly. Carter's implication that love is equivalent to power can be dangerous, because I am of the firm belief that it's not the emotion that wields the power; it's the person.

Love, on its own, is just an intense feeling of deep affection. The question then because: What do people in love do? Some shy away from it. Some run. I've found myself taking it day by day. Love has me learning. Love has me listening. Whether I act on it or not is indicative of my own power, and not the power the emotion may/may not have over me.

There's discussion to be made about how love can render one 'powerless', but it all falls on the individual. We are only as good as the loves that we act on.

There was, however, evidence from my research to support the normative notion that love should be romantic, once-occurring and lifelong... suggesting that ‘real’ love should only be experienced once and this should not come to an end. (Carter, 2015)

ANNOTATION: Once again, I find myself unable to agree with Carter's findings. Love as a lifelong feeling or commitment is understandable, but the notion of it being 'once-occurring' is significantly flawed on two counts. First, there is the manner of which it discounts romantic relationships and how they shape how we are. To love and lose someone does not mean you loved them any less or, in this case, did not love them at all to begin with. It is a disservice to downplay our own emotions just to subscribe to the credo of a 'one true love'.

Alternatively: I find myself falling in love with the same person over, and over, and over again. I have fallen in love with them on our walks home. I have fallen in love with them first thing in the morning, when they're bleary-eyed and can barely finish brushing their teeth. I have fallen in love with them even when there was distance between us— on long breaks, where they're the person I think of during the first snow of the year.

And so Carter is only half-right. Love is romantic. Love can be lifelong. But it has not happened to me only once.

... love has become a quiet, private project for couples in a society that worships coupledom and romance. (Carter, 2015)

ANNOTATION: While I have spent majority of this paper arguing against Carter's sociological view of love, I find myself wholly agreeing with her at least on this point. I'm often described as an outgoing and loud individual. For the most part, I thought that should I ever encounter romance, I would view it the same way.

But I've found love in the quiet moments. Bowls of breakfast cereal. Midnight trips to the convenience store. A shitty Netflix romcom playing in the background as the two of us cram essays.

If this love is only ever mine, ours— if no one else is ever made privy to our shared affection and all the rituals that come with it— then so be it. It will be enough for me. This will be more than enough for me.

[bioticlaw]

Faith in Desolation

IL CAPITANO X GN READER

A couple of days still feels like forever.

1,9k words // (soft) Yandere!Capitano, unhealthy relationships, Stockholm Syndrome, drugging, anxiety, MC is needy. just wanted to try to explore vulnerability and getting out of my comfort zone!

There is not much of your past you can remember.

You see blurred figures and silhouettes. You hear muffled words and hushed voices. You feel ghostly touches on your skin and sometimes phantom pains, but you remember nothing. You don’t remember the dreams you had or the youth within you. All of it is mere vignettes, corrupted tapes, and in realms leagues away from where you are. It used to bother you, not knowing all of your past.

Who were you before him?

The question drifts back to you like waves crashing against the shore, always returning no matter how much you wish it would disappear into the horizon. Harsh winds quiet every name you’ve ever remembered, and thick fog covers every face you’ve ever seen. You feel that your past no longer belongs to you, that it is a different life in its entirety, one you had never been in control of. The name everyone used to call you is no longer yours, and it has died alongside the husk of your old self.

What he calls you now—his and entirely his, is more than enough of a reminder that you belong somewhere. That you belong to someone, mind, body and soul; loved at your worst and your best.

Scars and ink mar your skin, born out of impulse and recklessness you once possessed. You’re the farthest thing from a porcelain doll; you’ve bent and broken, gone through tumultuous times by yourself. But the Captain treats you like a fragile little thing that can shatter at the slightest misstep. The same hands that have created death and violence are the same hands that caress your skin with love.

To be held so tenderly by a man so dangerous—it is all you’ve ever wanted, and it is all you’ll ever need from someone.

You stare out the window into the snowy plains of Snezhnaya and wordlessly watch the snow fall into place. It is warm inside his quarters, significantly so that you don’t have to wear multiple layers, but you can still feel the winter oozing through the walls. He isn’t home for you to crawl into his lap like an affectionate feline. He hasn’t been home for a couple of days now, having left for an operation ordered by the Tsaritsa.

Solitude isn’t entirely an unfamiliar concept. You’ve been an outcast and isolated for the majority of your life, never approached by any curious passers-by or bright-eyed people who wanted to be friends. You’ve grown to find comfort in the state of being alone. But now that you finally have someone to belong to—a permanent pillar in your life, a prominent presence you’d never dare to get rid of—the feeling of loneliness has grown much stronger.

He’s been writing you letters since he left. Some words to remind you that he still expects to see you at home, that he’s safe, and that he will return as soon as he can. Unfortunately, there haven’t been any new letters as of late, and it’s hard to keep the irrational voices in your head at bay. You want to write back, to tell him everything you’ve been holding inside your heart, but you can’t. It would put your safety in jeopardy, he says. You have not been outside of Snezhnaya in a very long time, but you trust every word Capitano says about the dangers lurking in the dark.

The winter makes it all worse. In an empty and quiet home that overlooks the bleak scenery of ice and snow, what used to be a vibrant world has turned dull. You rock yourself back and forth on the chaise, mind racing as fast as light. Capitano wouldn’t lie to you. He never has, and he won’t begin now. But a small part of your weary brain asks what if? What if he lies about how he wishes to have you in his arms again? What if he lies about how every flower he comes across reminds him of you? What if he’s putting on a façade to hide his wrath—to hide that he no longer loves you?

Your brittle fingernails sink deep into your skin as your hands start to tremble. You crave something sweet, the rush of warmth that flows down your throat and into your stomach. You crave contact, the comfort that comes from breathing in the same air as a loved one. You’ve never felt more alone, and the more you think of it, the faster you begin to spiral. Days have passed since you’ve had to be without him. Every insecurity wraps around your heart with its thorns and tightens, making you start to lose the rhythm of your breathing.

You grow increasingly aware of yourself. You are becoming too aware of yourself, and yet, there is nothing you can do that will stop it all. Your teeth dig into your bottom lip, chapped and dry from the unforgiving cold. The darkness grows stronger and surrounds you in its gloom, and the thick fog renders you completely ignorant of the sound of the door opening. The silence remains your only companion before a deep timbre sounds in the room, forcing you out of your sullen state.

“I’m home.”

The familiar voice you’ve been missing makes you leap out of your seat and into his arms, burying your face into the soft fur of his coat. Here he is, your beloved, your saviour, safe and sound and home. Tears well up in the corners of your eyes before they start flowing in rivulets, sobs escaping your lips as you struggle to regain your composure. You feel his clawed hand lightly support you in his hold, allowing you to lay in his arms more comfortably.

Drowsily, you mumble, “You forgot about me.”

“I can’t hear you, little one.”

Your bottom lip juts into a pout and you toy with the fur of his coat with your fingers, eyes downcast. His chest rises and falls with a sigh, though it’s not one of fatigue. It’s a noise of understanding—his response when words fail you.

Your sobs die down into quiet sniffles instead as the final teardrop slides down your cheek. Your arms are wrapped around his neck in greed and desperation, unwilling to let go even for a split second.

“Look at me.”

Pettiness seeps into your system, your impulses making you ignore his soft command while your brows furrow together in petulance.

He says your name, firmly this time, and repeats himself, “Look at me.”

Tearily you do, hesitantly pulling your face away from his coat and staring into the abyss that is his mask, your bottom lip quivering as the tears threaten to fall once more. Is he angry at you? Has he finally tired of you? Where will you go once he’s discarded you? Will you end up lying among abandoned toys like Dottore and his servant’s segments, or will you be forced to return to a life of isolation?

“You look pale,” he comments, “Have you been taking your medicine?”

You nod numbly. Resting your head against his shoulder, your fingers slide down to toy with the buttons on his coat, keeping yourself grounded.

“Good,” Capitano says and hums in contentment. “Now tell me what’s wrong.”

Fear jabs into your heart. You don’t know how he’s going to react when you tell him the truth. Will he think you don’t trust him? You do, but the voices in your head always try to steer you into darker territory.

Still, you breathe, and with a quiet voice, you finally answer him, “I thought you left me.”

He takes another long sigh. Taking a seat on the couch, he places you on his lap and possessively wraps his arms around your waist, hand tenderly caressing your back. It almost reminds you of how a musician would strum an instrument’s strings. It’s familiar and comforting, taking you into a sense of safety and calm, but it’s not enough.

“You wouldn’t leave me, right?” You stare at him in urgency, your voice wavering as you slowly fall into hysterics. “I’ve been good, so you still love me, right? I… I haven’t broken any rules, I’ve been good, I’ve been—”

You never complete your sentence, breaking into a sob before hiding your face in the crook of his neck, trembling in his touch.

“Of course I do,” he says softly. “It’s upsetting that you still don’t trust me.”

“I’m sorry,” you mumble.

With yet another sigh, he holds you closer to his chest. “Poor thing. You must’ve felt so alone.”

You respond with a tired grunt. You feel him moving beneath you, arm reaching out to grab something the best he can with you clinging to him. It doesn’t take long before he hands you a small bottle that you gingerly accept with shaky hands.

“Drink.”

Sweetness swirls on your tongue and warmth flows down your throat. You follow his order without question, fully trusting in his words and decisions. Discarding the bottle, he allows you to hold on to him for as long as you need, keeping you close in his protective touch.

His good little pet—so compliant, so needy.

“I just wish you could take me with you,” you murmur after a beat of silence, stability returning to your voice.

“You’re safer here,” he replies. “No one can take you away from me.”

You frown. “Are you… mad at me?”

“No, I’m not.” His hand comes up to pat your head. “But I want you to trust me.”

Your eyelids flutter and your breathing slows as the world begins to blur at the edges. You don’t feel him staring down at you, watching how small and fragile you are in his arms, how weak and docile. His fingers drum against the small of your back while he’s deep in thought, trying to think of ways to keep you comforted for the duration of his next absence.

“When do you leave?” you ask meekly.

“Tomorrow,” he says. “Will you be good and wait for me?”

You hum, your limbs growing heavier as your grip around him loosens. “I will.”

“Good,” he echoes before getting up and carrying you to your bedroom where he gently lays you on the bed. He crouches down beside you, his hand cupping the side of your face in kind. “Do you remember your rules?”

“Don’t leave, don’t speak to anyone—” you interrupt yourself with a yawn. “Don’t trust the voices.”

Pleased, he caresses your cheek lovingly. “Good. You’re doing very well.”

You weakly reach for his hand and intertwine your fingers together before you pout and look up at him with a pleading gaze. Nervously, you ask again, “You’re not staying?”

“I can, until the morning.”

You’re slowly drifting away, barely registering the sound of him getting in bed beside you. He carries you and places you on his lap once more, urging you to lean into him before you slumber. You briefly hear the sound of pages turning before you feel the vibrations in his chest as he reads out loud to you, lulling you into feeling safe and sound. He will be gone the next time you open your eyes, leaving the place pristine like he had never been here, but for him, you’ll keep waiting. Being obedient is the best way to support him.

As long as you behave, he’ll continue to love you and keep you sheltered away from the cruel world, unhurt and unharmed.

[cuppajj]

Some question about the lamb of penance 1. Can you or do you plan to develop more on the different class of the lamb of penance ?

2. In wich category would you put holy dart ?

3. Will you make more character in the lamp of penance or will it be only Dart and cream wafer ?

4. What is the functionment of the hierarchy in the lamb ?

5. On a scale from 1 to 10 how would you rate the fear of meeting a lamb in the middle of night ?

Sure!

Penitent Acolytes are your typical members, roughly 80% of the cult. They’re the force behind orchid planting, also tend to the Vanilla Kingdom in their king’s name. Also scouts and researchers, with many tasked with traveling Earthbread in search of things that benefit either the Saint or Bishop’s motives. Penitent Mages are spellcasters in the same vein as Saint, focusing on light magic for attack and defensive purposes. Penitent Knights and Duelists are also Lambs who defend the kingdom, or acolyte who are planting orchids across the world. While their blades may seem counterintuitive to Saint’s no-killing policy, they are actually magical: if cleaving through or stabbing, it does not gouge the dough to a lethal degree; instead, its lethality equates to the energy drained from the victim. A gash from the metal will make the attacked increasingly weary, and an otherwise lethal blow will render their entire body numb and debilitate them on the spot. It’s like a blade slicing through viscous honey: it can leave a deep mark, but the dough heals on its own. It’s suspected the magic of the blades are tied to the healing and energy-draining powers of the Beast.

Holy Dart is neither of these categories, as she stands above all of them as a special unit. However, she does share similarities with the Duelists, since she can also wield blades and fight with the rapid movements they have.

If the lore or story call for it, yes! There may be one who’s more of a(nother) paladin I might make. Someone has to oversee the lambs’ defenses…

Acolytes sit at the bottom, with Knights and Duelists sitting second. While considered on the same tier, Mages are slightly above them since their magic is more connected to the Beast’s. Holy Dart and others who Lambs report to are above them in their own tier of elites, and those elites are subservient to Cream Wafer. Saint Vanilla, whom the Bishop is undyingly loyal to, sits at the very top. While he’s at the highest position of power, he’s mostly their figure of worship. Not often does he give orders or survey the Lambs’ operations, as Wafer handles them diligently enough.

Depends on which Lamb it is. An Acolyte can be a typical grunt encounter, though unsettling by nature. The scare factor increases as you up the tier; if Wafer’s encountered in the middle of the night, then it’s guaranteed Holy Dart is nearby and ready to render you immobile if you lift a finger. If it’s Saint, you’re already at his mercy.

[undercoverdonderwolk]

https://www.tumblr.com/undercoverdonderwolk/768105236354170880/like-not-to-turn-this-into-something-it-isnt-but

re this: same energy as the one time he picked daniel to be the one who would save him if he drowned only to immediately follow up with ‘but we would probably die together heheee’ like bro… he literally picked daniel for no other reason than him being daniel. not because daniel has the ability to save him, but because even if he drowned it would still be okay if daniel’s by his side. full on i choose you not because of your capability, but despite your incapability, no hesitation. that sealed the deal for me frrrrr like yeah that’s how deep and real this shit is for themmmm we can heeheeehahaah all we want but it IS THAT deep and real for them!!!

no like literally exactly! and while i love the turn of phrase "picking someone not because of your capability but despite your incapability" i would argue that it goes even further than that. because it's about trust. who you think will at least earnestly try to save you. who would have your back even if having your back in that particular context isn't particularly useful. and i think that's what makes me so crazy about the two of them, is that in a sport where having enemies gets you further ahead, where there are no buddies, just people you have to beat, where trusting someone is what makes you lose, they still trust each other implicitly and after all this time. because that's what these kind of questions come down to to max, imho. who do you trust? and yeah there are friendships on the grid, yeah there are drivers who hang out but how many of them trust each other? really trust each other to have each other's best interest when it comes down to it?? and that's why max can't name anyone else. why he always goes back to daniel when it comes to these kind of questions, even when daniel is no longer there to go back to. because he is the only one max trusts. in a sport where trusting someone is more often than not the same as letting yourself get fucked over, max and daniel somehow managed to reach a point where there is not just liking each other, not just friendship that goes beyond forced proximity, but real honest to god trust. crazy

[croquis-el]

Self-addressing of minor male characters in Ace Attorney (Gyakuten Saiban) / Personal pronouns

We've talked about the main male and female characters, but we shouldn't forget about the minor male characters who accompany us throughout at least each part of the Ace Attorney (GKS) series

The first man who accompanies us throughout the first trilogy is Itonokogiri Keisuke (Richard/Dick Gumshoe)

And here's an interesting point. His pronoun is "jibun" (自分)

自分は、刑事課の イトノコギリという者ッス。

Jibun wa, keiji ka no Itonokogiri to iu mono ~tssu.

I'm from the Criminal Affairs Division. My name is Itonokogiri.

This is a rather rarely used pronoun; it literally translates as "self", although it has the meaning "I/me".

Jibun is used by about only 14% of men and 1% of women. This fact makes the pronoun gender-neutral, but predominantly masculine.

Compared to other first-person pronouns, the nuance of 自分 is introspective, and it's often associated with the military or athletic community, which have strong hierarchies. This suits Itonoko's personality very well, considering that he is a subordinate of the prosecutor and rarely thinks for himself.

Also, "jibun" can be an indicator of the Kansai dialect (Osaka), where it is used to denote both the first and second person. But, since Itonoko's speech was not noted to have any dialect (there are other features), and he was born and raised in the same city (and the city is from the Kanto region), this option is out of the question.

Interestingly, even after Itonoko realized that detectives should do their own investigations rather than rely on directions from prosecutors, and began making decisions on his own, his self-address did not change. Probably a matter of habit.

自分は、何をしたらいいッスか････

Jibun wa, nani o shitara Ī ~tsuu ka...

What should I do...

___________________________________________

Next is our dear friend's father, Mitsurugi Shin (Gregory Edgeworth)

His speech is very formal (like his son's), and he uses the formal personal pronoun "watashi" written in kanji.

私は弁護士の御剣信と申します。

Watashi wa bengoshi no Mitsurugi Shin to mōshi masu.

My name is Shin Mitsurugi, a lawyer.

___________________________________________

Let's not forget about Mitsurugi assistant - Shigaraki Tateyuki (Eddie Fender, almost wrote Raymond Shields)

Most of his dialogues take place with Mitsurugi and young Yatagarasu, and he stubbornly continues to call himself "uncle". (オジサン - ojisan)

オジサン、アトでここの館長に 文句言っとくから。寒すぎだって。

Ojisan, ato de koko no kanchō ni monku I~tsu toku kara. Samu sugi datte .

Uncle going to complain to the director of this place later. It's too cold.

It was not easy to catch his personal self-addressing with other people, but not impossible.

In dialogues with others, Shigaraki-san uses the polite male pronoun "boku" (like Naruhodō/Wright)

ぼく、その････! がんばって助けますからッ!

Boku, sono! Ganbatte tasuke masu kara ~Tsu !

I, well...! I'll do my best to help you!

___________________________________________

Let's not forget about our permanent presiding judge (here is someone who, with rare exceptions, is always with us)

ええ!わ、私がですか?

ē! Wa, watashi gadesu ka?

What? Me?

___________________________________________

The new generation is first represented by rock star and hard-working prosecutor - Garyu Kyoya (Klavier Gavin)

Despite his prominent image as a musician and rock star, Kyouya uses the polite masculine pronoun "boku" (the same one used by Naruhodō/Wright).

ぼくも楽しみにしているんだ。

boku mo tanoshimini shite iru nda.

I'm looking forward to it too.

His speech is generally polite, and in the original he uses various English phrases in his speech, written either in Latin or Katakana. These phrases, by the way, are often used at concerts of musical groups whose first language is not English. (In the localization, as you know, German was used as a substitute).

オーケイ、ベイビー!

ōkei, beibī!

Okay, baby!

___________________________________________

Mr. Garyu Kirihito (Kristoph Gavin) uses the personal pronoun "watashi", which is written in kanji, indicating formal speech and an adult character.

___________________________________________

The second prosecutor from the new generation is a master of psychological manipulation, Yugami Jin (Simon Blackquill)

To be honest, his image as a samurai somewhat clouded my eyes, and I expected some self-addresses inherent in this category (for example, "yo")

But no, Yugami-kun uses the crude male pronoun "ore" (like Odoroki/Apollo)

それと、俺は検事ってェ立場上、 おめえさんに手は貸さねェからな。

soreto, ore wa kenji tte ~e tachiba-jō, o-me e-san ni te wa kasa nēkara na.

Also, because I'm a prosecutor, I won't help you.

We don't know when he started using this designation (there are no monologues from him before his arrest), but judging by his characterization from other characters, he behaved very noble and politely, so perhaps he could change the personal pronoun to a more rude one to maintain the image of a "cruel criminal".

His manner of speech is, in principle, extremely interesting, and, I think, worthy of a separate post. In short - he speaks in a dialect + uses obsolete words + he has a special way of addressing other characters

___________________________________________

The third prosecutor from the new generation, who is also a monk from the kingdom of Khurain - Sahdmadhi Nahyuta (his name was not localized, thank you)

But this young man has an extremely interesting way of addressing himself.

"Sesso" (拙僧) literally means "inept monk".

This is a VERY modest form of address that was used by Buddhist monks.

拙僧がこの事件の担当に ふさわしくないと････?

sessō ga kono jiken no tantō ni fusawashikunai to?

Are you saying I'm not fit to take charge of this case...?

But, this is very different from his speech. Canonically, he is a foreigner, so he does not know all the features of the language in which the hearings are held. Therefore, Nahyuta uses, either unknowingly or intentionally, quite rude vocabulary and manner of speech (at the first hearing with him as a prosecutor, the judge, Odoroki and Kizuki were shocked). Even a native speaker, whose walkthrough I watched, was surprised and commented on this moment.

___________________________________________

Well, that's probably it for now on the topic of personal pronouns, but if you're interested in someone specific that I haven't mentioned, give me a sign.

[dnickels]

I don't think Gibson gets enough credit for how skillfully he extricated himself from the sodomy allegations. Long post to follow ->

The evangelical mindset is "we are constantly under siege from both invisible powers and our fellow man (and even one's own thoughts), every waking moment is nonstop spiritual battle" so Gibson framing himself as too weak to refuse advances (without spiritual backing, naturally) is a brilliant play for Irving's own anxieties while also putting him in the position to be the shepherd rescuing one of his flock. A direct appeal to the Victorian bourgeois savior narrative, expertly played. He's given Irving a script so familiar and one he's so eager to act out he doesn't for a second question its veracity.

And now we depart to the realm of pure speculation (oh boy my favorite) but I always wonder what exactly Gibson told him, and how much it actually corresponds to what we hear Irving scold Hickey for. I wonder if something got lost in translation (Irving heard what he wanted to hear which is not quite the same as what's actually being said). I think Gibson is perfectly capable of shopping Hickey to save his own skin no question, but that scenario doesn't quite jive with how surprised/concerned he is that Hickey and Irving apparently had a chat about the situation. Surely Gibson didn't think he could say "I was coerced" without some kind of follow-up? It could be a feint, he's just acting to try and keep Hickey from holding a grudge (I think Gibson knows with brutal clarity that you do not want to be on Hickey's shitlist) but his reaction reads to me like he's seeing his fib start to spiral out of control. Of course, one of the grand themes in Terror is people not being as smart as they think they are (or, more charitably, that even well-conceived plans often shipwreck on the shoals of human unpredictability) so it could just be an example of a reasonable plan blowing up on contact with an unreasonable person, as individuals are a universe unto themselves and truly unknowable to each other. Or maybe he really didn't think Irving would do anything, because he asked him to keep it quiet? Maybe that's how it usually goes, everyone agrees to keep it quiet-- sobering thought.

Still, it intrigues me to think about Irving as the wildcard in Gibson's plan, not Hickey-- bringing baggage to it that Gibson didn't include in his calculations. I wonder if Gibson heard the lecture, how many of his own words would he recognize? I can see the shape of a communications breakdown, where a tactful "the temptation was overwhelming, I couldn't resist him" becomes "he used overpowering force" or "I didn't come forward because I was afraid" becomes "he threatened me into silence". Not unreasonable assumptions for Irving to make, honestly, I just think its interesting to play with the idea that they are assumptions and not part of Gibson's ass-saving explanation. Just no accounting for what happens in the pressure-cooker of the evangelical brain!

Obviously the darker read here is that Irving can't understand a messy gay situationship despite spending years at sea is because he is homophobic (while desperately refusing/denying/fighting his own desires) or was himself party to coercion, either towards himself or someone else.

I just think its interesting to think of how it might have played out if Gibson and Hickey been surprised by say, Hodgson instead-- who might have given them a stern "I don't want to catch you two not at work again" but otherwise let the matter slide, or Little, who I can see loading them down with donkeywork but refraining from escalating because doing so means talking to Crozier and Oh God, Please No.

I keep coming back to the question of whether or not Gibson was ready/intending to burn Hickey as badly as his lie makes it seem. While I think he's perfectly capable of it, but it seems like such a risky move when his confession (owning what Irving has no real proof of, I'm more familiar with the early 19th century legal situation on land but the standard of proof for sodomy specifically was actually pretty high) could just as easily backfire on him rather than exonerating them both. We only have Gibson's word that he acted for their mutual benefit, and even if he's telling the truth it seems like stepping on a landmine: no one seems to think Hickey would hang on his accusation, so he's going to still be around after a potential flogging and presumably pissed off. Obviously its a bad situation all around but I am so curious about his own risk/reward accounting. For me, I really enjoy imaging him trying to play master manipulator to Jirv who is absolutley not a player and mostly lets Jesus call the shots. Very funny to me to be so ambitious and skillful and willing to play the Great Game but it all comes to nothing due to human folly. Thesis moment.

[durgetavoc]

Yes I really want to know the horrors of the shit bucket. I’m quite surprised that he isn’t obsessed with cleanliness. He always struck me as the type but then again… I guess I’m wrong.

Oh god, here we go then.

SPOILERS FOR THE HOUSE OF HOPE

(CW for...The Shit Bucket Guy, obviously)

So, if we ever decide to go steal the Orphic Hammer, we can go visit The House of Hope, there, we obviously find Raphael's collection of artifacts, his eternal debtors, and one of them is… This guy.

You should know that all eternal debtors are condemned to a certain task/action. It's difficult to know if this has anything to do with their contract with Raphael, if it is a distortion of an already existing trait of their personality (for example, the Perfect Eternal Debtor, the Theologist Eternal Debtor or even the Voyeur Eternal Debtor) or if it's a way to completely dehumanize them (Loyal Eternal Debtor…My beloved :( ). It seems to be a mix of everything, that wouldn't be surprising if Raphael did what seemed most entertaining to him.

But let's focus on the Shit Bucket Guy, since he's the one that interested us today.

As our affectionate nickname for him indicates, we find him in front of a chamber pot with a visible green odorous cloud above it, which confirms us that it has been used (when you interact with the pot, here what the game says : "An overpowering stench singes your nostrils. Nothing good happened here."). The debtor doesn't appreciate us getting closer to it, and if we ask him if he is its guardian, this is what he answers:

His "name" in the game is "Unclean Eternal Debtor" and if you're taking a look at his face... Yeah, I guess he's not just guarding the pot. When we observe the animation of the character, he walks around the pot, makes a hand gesture to smell it, and that's it.

It has become a running joke in the fandom, particularly for us, little mouses. Those who have been to the House of Hope know about the Shit Bucket Guy... But nobody talks about him.

(Yeah I couldn't help it.)

It's not really surprising, the presence of the chamber pot, and not just any one, RAPHAEL'S, raises other questions. One might wonder if it's not a little OOC coming from someone like him.

Let's take advantage of this question to dig... A little deeper.

Here's, imo of course, why it's somehow relevant to show Raphael's chamber pot and what this tells us about him.

Shall we?

1. Don't be fooled by appearances, he POOPS like us!

Raphael. Raphael. Raphael who embodies sophistication, intellect and danger... Alluring and at the same time fearsome, a fascinating mix. Goddamnit, he's a suave motherfucker, and he fucking knows it.

In video games, it's part of the suspension of disbelief to not talk/show toilet, unless you're in a life simulation game like sims. It's not just taboo since it's one of the most private aspects of our life, but it's also... Not relevant to the intrigue most of the time.

Showing us something that intimate about him disintegrate his mysterious aura. We learnt that Raphaels shits. Yeah, absolutely astonishing. Reminding us that he's exactly at the same level as us. Like the title said, despite his charming manners, his eloquence, his theatrical gestures... He's still human, hells, part human.

2. In the Devil's house.

The first time we meet Raphael, he wastes no time in bringing us to his home, on his own terms. We only see one room, and this is what we see:

Luxurious place, lavish displays of food, ordered furniture... Promising, right? This is how Raphael wants to give as a first impression. I think this scene is perfect as a metaphor. Remember what Gale said? He's taking us to dinner! Like a date, he wants to impress us, seduce us.

But when we're back to this place during our improvised visit, what do we see?

Rotten food. Blood. Skeletons. Mess. Remind me of my room before I have to rush to clean everything because a friend comes over.

By choosing to enter Raphael's home, into his privacy, the game takes us on a tour of his home: we discover what is hidden behind Raphael's character. It is of course expected that we discover his secrets and/or aspects of his personality that he would not wish to reveal, at least not before we make a deal with him.

Haarlep, his incubus, also participates in this demystification. Through them, we can learn about Raphael's sexuality (I'll be quick on this since @bitethedevil did some really good analysis posts about it):

Raphael is only attracted to himself (hence Haarlep's appearance)

He is a bottom pillow prince

And he doesn't last in bed (a valuable information that can be used to anger Raphael later)

Once again, this is another very intimate aspect that is revealed to us. I'm sorry to say it, but Haarlep basically plays the same role as the chamber pot to accentuate the intimacy of the place and also to ridicule Raphael, thus revealing to us what he really is.

3. Raphael hates his father.

Our favorite cambion is having daddy issues, and the chamber pot seems like a nice response to the statue his dad gave him. It's a "blink and you'll miss it" kind of detail, but it's funny to point it out. Show don't tell as it's finest.

4. How bad it is to sell your soul to Raphael.

This one is easy... The Shit Bucket Guy is an example of Raphael's cruelty : "This is what could happen to you if you make a contract with Raphael."

Sure, it's funny because the whole thing is ridiculous: "Guardian of his chamber pot? Seriously?", but it's hard to really laugh at it if you take into account the other eternal debtors. The whole place is designed to make you uncomfortable, because it's not treated as a joke. They had a life, had to ask Raphael for help, and are now reduced to doing something degrading until the end of time. They don't even have a name anymore. They could be your Tav/Durge or your companions...

Suddenly, the temptation to make a contract with Raphael is less appealing after seeing all this, isn't it?

Conclusion : Now the question that burns our lips : What could this guy have done to him to be reduced to this? And why?

My first instinct when I met this character was to think, "oh boy, you must have really pissed off Raphael..." let's be honest, it's the kind of torture you could imagine to your worst enemy or at least a very annoying one.

It could be that, or maybe, mayyybe...

Remember Mephistopheles' statue?

What if Raphael was SO annoyed by this gift that he woke up one day thinking "fuck my dad, fuck his gift" and decided to literally shit on him by putting a chamber pot in front of this statue to express his thanks. And just like any narcissist/paranoid guy, he named a "guard" to be sure no one would spy on him through this (it sounds delirious, but again, we learn that Haarlep was send to distract Raphael, so why not?)

Sure, maybe Shit Bucket Guy annoyed Raphael in the past, but wouldn't that be kinda fucked up that this guy didn't do anything that would justify this treatment? He's just a dude, and Raphael is just a pissed-off daddy's boy (and a very mature one).

Or maybe, Raphael just thinks it's funny. And who are we to discuss a devil's sense of humor?

In any case, sorry Shit Bucket Guy, but it wasn't your lucky day.

PS: Hush, I can hear you wondering "do you think Raphael is scat???" and on this subject I would say: I don't think so, his narcissism is there after all, but he also seems really into humiliation. So maybe it's for the best we don't really know the answer to this question.

After all, only Haarlep can judge him (so the bar is already on the floor).

[hello-sweetheart]

Fame and Fortune

Do you dream of glory? Crowds of thousands all adoring beneath you. The roaring cheers echoing in the arena. Countless of small white lights held up like beacons creating a sea of waving stars all for you. Breathless exhilaration has your chest heaving, skin glistening and damn. To feel like a god: never ending, eternal.

What would you be willing to do to get it?

What are you willing to sacrifice for fame?

Who are you prepared to lose?

Could the love of millions be worth the love of one?

——

[Backstage: Corroded Coffin Global Tour-Los Angeles, Ca]

Eddie is pacing, more than just pre-show nerves numb his hands. His cigarette burns quickly, ash falling on the carpeted floor, but no amount of nicotine filled lungs will fix this. Gareth, his drummer and long time friend, is watching him pace, eyes pleading.

“Is it worth it, Eddie?

We all got what we wanted; why are we miserable? You can’t lie to me, we all feel it. I see it in everyone, even you! You haven’t been the same since—“ He receives a withering glare from the frontman and sighs, speaking softer.

“I miss mom and my little sister. It’s been so long since I’ve seen them… I’m no longer drawn in her crayon family portraits, did you know that? Does Anne even remember me, anymore?

How can you keep going like this and expect us to do the same? I’m grateful—I really am—for you. You got us where we are now, a fantasy that we never even dreamed would become reality. It was amazing, I’m glad I got to experience it all with you, but I’m tired. I’m so tired guys.

I just want to go home.”

The long drag he takes burns his throat,

“Look, we’re all tired, I get it. Really, I do, this tour has been… particularly grueling I’ll admit, but come on. This is our last show, the big finale! We’ll give them all we got and then we’ll be able to take a break to freshen up before doing what we do best: creating kick ass music.

Like always. You’ll feel better after this, we always do after the last show—“

Gareth cuts him off, his patience clearly stretched thin.

“No, Eddie, listen to me! It’s different this time. I’m happy with the money we’ve made, we all have enough to live comfortably and I’ve been thinking that, you know, it’s time to settle down. I can’t do that if I’m always working. This, the band, it doesn’t… it doesn’t make me happy anymore.”

Jeff stands and his imposing figure makes Eddie pause from wearing a path into the floor.

“He’s not the only one, man. Im sorry, but its killing me. We don’t expect you to give it up either, you can keep the band name, find new members, keep signing… But for us? We can’t keep going, man. This is the end of the line.”

‘Not him too. Fuck. Fuck!’

“No! What am I—I’ve given up too much for this, you can’t just, fucking, bail on me!” This band, playing with his friends, it’s become his entire world. He’s lost too much to get here.

“Woah, woah, hey! No one fucking told you to and you know it. We’ve always had your back no matter what, but anything you chose to do is on you. Not us. The least you could do is extend us the same fucking curtesy and respect the fact that we’re fucking done with this bullshit.”

His gaze is venom as he looks at band, Grant and ‘Freak’ silent but agreeing with the rest. They refuse to meet his gaze.

“Fine. Do whatever you want.” He turns and leaves. They’ll be starting in 15 minutes.

Fucking cowards. Ungrateful bastards.

A memory plays in his head. Brief and intrusive. The voice of someone long gone from his life rings in his mind.

“I’ve missed you, Ed. Are you done at the studio, yet? When are you coming home?”

“Steve, this is important. You know this. I’ll be pulling a few more all nighters here—this album has to be perfect, baby.”

A crackling sigh is barely audible through the phone.

“I know, I know. I’m just being selfish. I’m sorry. Miss waking up to you next to me.”

“Miss you too, baby. You’re my world you know. Love you more than anything.”

“More than music?” It’s a timid question.

“Now, let’s not get ahead of ourselves,” he’s the only one to laugh into the receiver.

“Right… night, Eddie.”

“Wait, Stev—“ fuck. It was only joke. Whatever, he’ll apologize tomorrow.

Right now, he has music history in the making.

[scam-alerts]

👀 Tips and Tricks 👀

Here is a collection of useful tips and tricks to spotting and dealing with scams and those who try to share them. :)

Tip #1 - Stay calm.

This is the first and most important thing you should do in any situation involving strangers on the internet. Yes, it's okay to be unsure about something at first glance. They say that you should always trust your gut. But what you shouldn't do is let that fear and uncertainty make you hateful or spiteful towards those who might genuinely be seeking help.

Tip #2 - Wait! Let's investigate!

That ask/DM someone sent you isn't going anywhere. They send dozens of them out every day to people, so it won't hurt if you take 5-10 minutes to do a little research before you decide to take action.

Easy ways you can investigate:

1) Search the username of the person who sent the ask/DM. - You can do this by typing their name in tumblr's search function or: https://www.tumblr.com/search/username https://www.tumblr.com/tagged/username

2) Check the blogs archive to see how old it is. blogname.tumblr.com/archive.

3) Check the past reblogs of the pinned post they want you to share. - Does the persons 'real name' change every few weeks? (more on this trick here!)

4) Search part of the ask via google and the word 'tumblr'. - Do you find results of that same ask being sent by other blogs?

5) If they sent you a DM, ask questions. Ask a lot of questions. - Do they get mad or frustrated with you? - Do they try to change the subject? - Are they persistent about trying to get you to do something?

Tip #3 - Stay kind.

I know it can be overwhelming when you receive asks looking for help when you might not be able to offer anything in return. It's also 100% okay to not know if you're dealing with a real person in need or a scammer. But please, don't go around reporting every single ask you get with a gofundme saying it's a scam or making posts telling others to do the same. This might wind up hurting real people genuinely looking for help from others.

Tip #4 - It is okay to block and delete.

In many cases when you receive an ask looking for help, it's usually sent with a sad story of loss, tragedy, heartache, or an implied since of urgency. This is not to say situations from real, genuine people looking for help aren't emergencies.

Just remember:

You do not have to share any asks that are sent to you.

And it does not make you a bad person if you block someone.

Especially in the cases of scammers.

Tip #5 - Help protect one another other.

If you see that someone has shared a scam, let that person who shared it know what's going on. Let them know how and why that person they shared a post from is a scammer, tell them the various tips and tricks on how to spot scammers, and maybe they too will do the same for their friends, and so on and so forth.

If anything you might even help a lot of other people not fall for a scam if you do share their pinned post and tag it as being a scam with information as to how/why in your post.

Scammers love to change their usernames, their 'real names' on their posts and editing their stories around a little bit, and if people work together, we can help keep each other safe by making sure that others are scam aware.

----------

Thank you all for reading, I hope you all have a fantastic day and if you ever have questions about something you think might be a scam, don't be afraid to send me an ask. :)

Take care. <3

----------

Helpful links and guides: Scam Index (@scam-alerts) Useful guides to spotting scams (by @kyra45) A guide about scammers pretending to be Palestinian. A guide on how to spot Insulin Scams. Part 1 and part 2 of our current list of scammers.

[genderqueerdykes]

genuine question about some identities

why do you think theres so much hate for people who are afab/amab and are also trans women/men, those who are cistrans and multigender people?

ive noticed that when you tell certain queer people you'd think wouldn't be exclusionist that your gender is funky and you're trans bc of it, they begin to use your assigned sex and your biology against you because "you can't be a trans woman if you have a uterus, ur just feminine".

its the same argument as conservatives make it. why is there so much hate?

ppl don't acknowledge my individual genders but instead see how they work alongside each other. ppl don't see me as a trans woman when my gender is woman but will acknowledge me as a trans man because of my sex traits.

these are some very important questions to ask, i appreciate you for sending this ask

i honestly think more people are becoming indoctrinated into transmedicalist and gender critical thinking without realizing it, and it's becoming dangerous. people want to inherently label an afab transfem and/or an amab transmasc as liars, people who are spitting in the faces of others, and shouldn't be a part of our community. other people make assumptions about others' experiences based on their own and don't understand that there is an entire world outside of their perspective, and that world is full of experiences they have no hope of understanding, but can simply accept.

i've gotten a lot of questions about whether afab trans women and amab trans men can exist, it's definitely a hot button issue right now, and i agree with you. if you ask me, afab trans women and amab trans men deserve to have a platform to speak from. if someone genuinely believes their identity is trans no matter what their AGAB is- who the hell am i to stop them? it's important for afab trans women and amab trans men to not speak over their other siblings and try to speak for what it's like to be intersex or an amab trans woman/afab trans man. but that doesn't mean that these people can't exist- they deserve the right to talk about their experience, because it exists alongside the experiences of amab trans women and afab trans men. they're not fighting with each other, they're unique experiences that belong under the same umbrella.

at the end of the day, someone standing there being an afab trans woman, an amab trans man, or a cistrans person is not hurting anyone. the identity itself will hurt no one. ignorance about what other trans people experience is dangerous, and so is speaking over others, but these identities in and of themselves are not harming anyone. it is very possible to go "i don't understand how that works, but if that is how they identify, then i will respect that."

between people becoming indoctrinated into radical feminism and people who are proudly adopting gender critical politics, there is a schism in our communities that don't need to be there. people think they need to "weed out the fakes" in order for us to be accepted by cishet society, which is just not how any of this works. we can't cast aside the queers who are "too weird" or "not really queer" in order to try to make the rest of the community look legitimate

this community has always been here for people whose identities don't line up with the cisheteronormative binary. it doesn't matter what someone's AGAB is- i mean, isn't that the point of the trans community? are we not the "i don't give a shit about your AGAB, i want to know who you really are" community? it's become honestly scary to see how focused the queer community has become on AGAB. people are utterly obsessed with trying to figure out the AGABs of strangers in order to deny them access to queer spaces or kick them out of spaces they rightfully belong in

and it bothers me deeply that people police the identities of multigender people beyond belief. it's like having 1 trans identity is okay but if you dare to have more than one, you're not really queer or whatever. cistrans people, multigender people who are cis, trans wo/men who consider both their manhood and womanhood trans no matter what their AGAB is, transfemmasc/transmascfem people... these identities belong and yet people proudly and gladly wake up every day to do conservatives' jobs for them.

whenever you police another queer person's identity, no matter what your intention is, good, bad or something else- you are doing conservatives' jobs for them. you are not preserving our community. you are not keeping identities sacred or safe or whatever the hell. you're gladly sucking up to our oppressors and spreading their propaganda. it's disturbing how people don't realize this

thank you for taking the time to send this ask, i agree with you 100%. this behavior has gotten out of control and it's time for people to wake the fuck up and realize they've been indoctrinated into transmedicalism, radical feminism, and being gender critical. this isn't the "right" way to behave. it's antithetical to the very foundations of the queer community.