#this writer has religious trauma

[contrivedchaos]

So I assume for some reason a rather young Emily ends up falling maybe she asked a few questions she shouldn't have and the elders not wanting another Lucifer just decide to get rid of her before she causes problems. Sera tries her best to stop them from removing her and when that fails tries to jump after her but can't she as High Seraphim has her soul owned by heaven so she can't leave when she tries something like husks chains show up and stop her. Sera desperate and scared for Emily decides to contact Carmilla her ex. They broke up over because they were on different sides when Lucifer rebelled and it was a messy break up both believed very strongly in what side they were on and using paradise lost maybe both were involved in the fighting. Even if Carmilla didn't end up in hell after Lucifer lost they probably wouldn't have gotten back together in the aftermath. But Sera is desperate and with no other choices so she contacts Carmilla and after some arguing explains everything and begs Carmilla to take care of Emily she agrees not for Sera but because she doesn't want someone else to suffer because of heaven's injustice she is still bitter. So she takes Emily in and raises her as one of her own. She and Sera stay civil for Emily's sake since Sera calls everyonce and while to see how she's doing and tell her she loves her. Both of their hatred slowly starts to die down over time.

I see a lot of speculative art and fanfic where Emily ends up falling because she tries to support Charlie. I hope that's not the case.

In this specific scenario, Carmilla would still be bitter in the beginning. Her old lover coming out of nowhere to beg for Emily's sanctuary? It's preposterous. She doesn't owe her anything. Carmilla probably feels no obligation at first. Probably hasn't talked to Sera in hundreds or thousands of years; that's been Lucifer's job, to keep the lines with Heaven open and keep them sated. But the fact that Sera is coming to her specifically this time, before even getting Luci involved, telling her she tried to follow Em but couldn't because Heaven has her in its chains, Carmilla can tell she really means it. Can hear the fear and anguish in her voice. She agrees for Emily's sake.

I like to think she'd take Emily under her proverbial wing like she did Vaggie. Eventually, she helps Emily grow back her wings. Emily learns to fight with angelic weapons and defend herself. Maybe Vaggie and Charlie mentor her, and when she's no longer in shock and has overcome some of the trauma of her fall, she moves into the hotel to help rehabilitate sinners.

I'm not sure if she would ever want to go back to Heaven after everything they've done, but eventually when they realize Sinners can be redeemed, things start to change for the better, and she can reunite with Sera again.

[austin-friars]

Short Story Snippet - Of Natural Sin

A conversation in 1542, between a soon to be married woman, and her friend and priest - who is gay and a bastard.

[bellamygate]

the thing that gets me abt religious ppl is they'll demand u respect their religion & that religion hating your existence but they won't respect ur right to be like yea my belief says god isn't real so thats a dumb reason for hating other people or ye ok then ur god is homophobic thats kinda shitty they go APESHIT like. it goes both ways? like they can say i hate gay ppl bc of my religion but when a gay person says well i dont respect that religion bc it doesnt respect me its ww3. I'm not walking on eggshells for people who are too quick to condemn me to hell

[yellowocaballero]

I love how your Bruce is traditional but it is also like a mix of different types of traditional. Like he comes across as both "Rich white old money type" traditional AND "member of a marginalized minority group who take great pride in their identity to cope with years of ostracization and going "the world wanted me dead for my culture and religion so i might as well die loud and proud instead of conforming to their unachievable ideals" " traditional

Thank you for this ask, I really love it! I have a shitton to say on this topic, including a lot of worldbuilding decisions on Gotham cultures, immigrant spaces, segregation, how it ended up like 1920s-1930s NYC/Chicago mixed with my own city, Jason "Foil" Todd's Inferiority Complex, but that would make this depressingly long. Long time readers would know that I have, like, really complex and discrete religion headcanons for everybody I write. It's important.

Any decent Batman Story (TM) is about Gotham. It has to be a huge presence. It's like writing Dick Tracy without Chicago, or Cheers without Boston. When he's written well, Batman is a reflection of Gotham, and they metaphorically represent each other.

Most Batman writers get this, so there's always a lot of historical worldbuilding and everything. But I'm a community health person, and I grew up in the inner area of my own very large city, and creating a Gotham that feels real and rich is more complicated than the Court of Owls stuff. For me, cities are the intersection of culture, community, history, oppression/SES/war etc, and the modern day to day lives of people. When I want to make a rich city that was relevant and important to the story, I wanted to focus on immigrants and cultural minorities. You know - the people who create the cities lol. I decided on a history that involved the idea that Jewish families were the oldest in Gotham, and that they were one of the people to help create it and influence its culture.

I read a Daniel Handler quote just now that said "there is something naturally Jewish about unending misery". What is more Batman, Bruce, and Gotham than that, lol. The Jewish diaspora experience - the traditional history just as you outlined it in your ask - is baked into Gotham, it's the foundation. Gotham is a city of unending misery, but it's a city that stands tall. It takes a thousand hits and always gets back up again. People within it experience unending poverty and suffering, but they stand together. Just fucking refuse to die, as a whole. What's more Jewish than that! What is more Batman than that! Gotham should always be allegorical for Batman and Bruce, and through Gotham existing in that traditional Jewish experience, I think that's where you got the impression of Bruce as very traditional too.

Tim and the Drakes are the modern reflection of this. I was extremely explicit that Tim is alone in the world because of the Holocaust. I talk a lot in the story about how war and violence destroy children's lives, and that stretches back to the 1940s. About how war and violence creates violent children, which is what Tim became. His acting out was from the trauma of seeing his family slaughtered in front of him, and like a lot of people he used his religion to justify it.

There's a reason why the very first moment when Tim and Bruce actually connect as a family is when they find kinship and understanding through their shared backgrounds and values. They both saw their families slaughtered, they're both alone in the world - but they found each other, and they'll keep living.

OK BELIEVE IT OR NOT THAT'S THE SHORT VERSION. Seriously, though, I'm not. Uh. Actually fucking Jewish. This is like the fourth time I've talked out of my ass about this. I'm actually really interested in reading about the actual Jewish themes in Batman, because from what little I know they HAVE to be there. Any smart people out there who know about it, or who can link something written about it?

[glimmeringtwilight]

Also re: gilded cage series... i think if I ever do write a part 4 they will be getting along Somewhat but for now I like the thought of them bitching at eachother. Pantalone and Dottore being petty towards eachother is my favorite dynamic and I hope that's how they actually act (if at least to a degree). Harbinger pettiness ...❤️🌟

[itsfennikbitches]

idk if anyone listens to crystal castles but it feels like re realizing your religious trauma and not really being able to decide whether or not you’re aetheist because you grew up with religion so you still fear higher powers and long to achieve heaven but on the other hand it’s crippling to think about praying or the fact that we live just running away from hell

[28ratsinatrenchcoat]

ooooh I love using religious guilt to help tell a story

[etchingsandepitaphs]

perhaps i will have a slutty little mental breakdown before my date tonight. as a treat.

[silhouettecrow]

365 Days of Writing Prompts: Day 156

Adjective: Twisted

Noun: Church

Definitions for those who need/want them:

Twisted: forced out of its natural or proper shape, or crumpled; (of a joint) injured by wrenching, or sprained; (of a personality or a way of thinking) unpleasantly or unhealthy abnormal, or warped

Church: a building used for public Christian worship; a particular Christian organization, typically one with its own clergy, buildings, and distinctive doctrines; the hierarchy of clergy of a Christian organization, especially the Roman Catholic Church or the Church of England; institutionalized religion as a political or social force

[puthyflapps]

Marja is trending on twitter and it amazes me that it took y’all 3 seasons to realize she’s a flop who doesn’t know what she’s doing with this show or these characters

I, however, have been a day one Marja-Loser Ryan hater

[contrivedchaos]

I am imagining Sera trying to talk to Emily via Carmilla but Emily doesn't want too she is still hurt and doesn't trust Sera anymore. Sera keeps trying mostly sending texts or whatever to Carmilla asking telling how Emily is doing and telling her to tell Emily she loves her. Eventually Carmilla talks to Emily about it and tells Emily something along the lines of I can't believe I'm defending Sera and explains that Sera does love her and for all her faults she does care a lot about Emily. Maybe she even tells Emily that Sera tried to fall with Emily but couldn't as she was held back by magic chains. She also tells her how much of a big deal that is because back during Lucifers rebellion she chose Heaven over her friends, and Carmilla her girlfriend and that Sera is incredibly loyal to heaven so for her to without question try to jump after Emily shows how much she cares and that she shouldn't act like Sera doesn't care. This maybe gets Emily to send a message back to Sera letting her know she's fine.

Carmilla, to a frustrated Emily: "You should know by now how nefarious making deals is down here. Well, the same goes for up there. Except in Heaven, they don't do you the courtesy of telling you what the price of owning your soul is going to cost. You don't even have to consent for Heaven to wrap its cold chains around your throat. They weasel and manipulate their way into your heart and then close the lock the moment you give your unquestioning loyalty. Your sister found that out the hard way when she tried to leave."

Emily, surprised: "She did?"

Carmilla: "The moment Heaven decided you weren't worth the cost to rehabilitate, she contacted me begging to help you. There was a time...we...we were very close, once. I hadn't heard the sound of her voice for 2000 years until you were cast out. She didn't even think of her own safety; she just needed to know you would be all right. So I agreed."

Emily: "But why? Why go out of your way? Do that for me?"

Carmilla: "I was one of you, once. I made the choice to disobey, to question that life could be better for Sinners, and it cost me and Lucifer everything. Me and my daughters' safety, as well. So I guess, in a way, I understood how she felt. I understand what it's like to fear for the ones you love. And at the end of it all, I love her...what other choice did I have?"

[lansangprincess]

What I Want to See in HBH S3!⋆·˚ ༘ *

note that this is a list not to be mistaken as things i expect to see in s3

the introduction of a new trans character !

the introduction of a new character who will have a cutesy and fun lovey storyline for quinni <33

harthony uno reverse card—harper starts to realize she has feelings for ant but is scared to confess bc she's still dealing w her trauma and doesnt want to lose him

ant main storyline !! we find out a lot more about his home life (this is for the bitches w religious trauma, it's me im bitches) and find out what his ethnic background is bc i realized that ive been assuming he's wasian this whole time but it's never actually been said

i miss a parent-child storyline actually (like darren and their dad had in s1). i think quinni would be great for this

chook in jail jfc

sasha home life—could be redemption, could be not. im chill either way, i kinda enjoy getting annoyed at her (just no more ableism pls). if she does get redemption tho could she pls tap into more of her succulent chinese meal, dinussy side like she is so hilarious when she's not being a performative activist lmao

less spider screentime im sorry like hurrayy he's been redeemed but i want to highlight the other characters now

missy&darren storyline. i dont even know what kind of storyline but i just feel like theyd be so entertaining together constantly roasting people

verbally canonizing that ant and harper are queer/pan (established) and spider's demi (new revelation)

ca$h/darren & missy/spider double date could be fun and random. maybe they bump into each other at a carnival or smthn and compete against each other at ring toss idk

another classic hbh mystery to be solved BUT THIS TIME, amerie isn't a main character of it

✧˚ ·the entire main group doing karaoke✧˚ ·

A few more thoughts...

i miss malakai already but i think it would be too narratively convenient for him to come back at the start of the season so i dont want to have any expectations for his (and the amerie/malakai) storyline. imma let the writers take me wherever they want me to go

what i dont want to see is a new love interest for my amerie like i feel bad for the new plot device dressed as a white blond boy that will be tossed away once the amerkai endgame is done cooking

no more darren&quinni angst no more darren&quinni angst no more darren&quinni angst no more darren&quinni angst 😭

what i want to hear in a new season of hbh is some chappell roan like imagine HOT TO GO! playing in hbh it would be amazing

[aquilaofarkham]

Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

—

WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

—

HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely. 

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil. 

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

—

SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia. 

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly  grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what’s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should. 

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles. 

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

—

THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family. 

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return. 

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

—

SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont. 

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now. 

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

—

MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)

[slytherinboysappreciation]

Infatuation - T.R. x fem!Reader

A/N: Here it is! Part two to Adoration! It took me a couple days to write coz I’m a slow writer lol, but I had a lot of fun with it. I hope it lives up to the first one! It has more plot to it than porn, so I hope that’s okay.

Gif is not my own; it was found on Pinterest, uploaded by Wattpad

No use of Y/N. Reader is Dumbledore’s daughter. Tom is in his seventh year for this fic. It’s mostly unedited and only my second time writing smut so please be nice 💛 Comments, likes, and reblogs are greatly appreciated!

CW: mentions of hatred; talk of revenge plans; descriptions of male arousal and such; sexual fantasies; a brief moment of nausea and self-hatred; religious trauma, I guess; Tom being a bit of a sub; (badly written) graphic descriptions of a blow job; praise kink; infatuation with the reader

Does contain mature content so NO MINORS PLEASE!!! Just keep scrolling!!

1588 words

Tom avoids you for a whole week. It’s hard to do. Every time he sees your smile or hears your laugh, his body reacts to it.

It’s the most uncomfortable he’s ever been in his life, forced to use all his tactics to will away his sudden unwelcome erections. After that first incident, he refuses to grant himself proper relief.

It diverts his attention from his grand revenge plan. It’s an almost perfect plan. He’ll humiliate you in public, make it so you never smile at him again. He’ll finally be free from the intense discomfort you’re unknowingly putting him through.

It’s almost perfect…

… except he can’t seem to make himself follow through.

It’s not for lack of hatred. He has plenty of that when it comes to you. Nor is it for lack of willpower. It takes more than a firm will to ignore just how achingly hard you make him.

It’s just… every time he sees your smile, something within him stops. It makes him look like a fool; just standing there, staring at you. And then you smile and wave, just at him, and he’s instantly hard again.

He hates it. He despises it. He wants to scream with rage every time it happens.

His grand revenge plan, ruined by your stupid smile!

He sulks in his room, plotting on how best to get his revenge.

Finally the idea comes to him. It’s a stupid idea; a last ditch attempt at revenge. Take advantage of your friendliness. Of your smiles. Get close to you, and then hex you so bad you can’t walk afterwards.

Tom clings to the idea like a lifeline. All he has to do it get close to you somehow. And then his problems will be over.

The solution presents itself a few days later. You’re in need of tutoring. And who better to tutor you than Tom Riddle himself?

His plan goes swimmingly. Perfect. Absolutely wonderfully.

Until your first study session with him.

He’s already hard.

It’s not even been twenty minutes and you’ve smiled at him four times. FOUR! Who even smiles that much?!

Tom grits his teeth and forces a polite smile as you ask him another question about your homework. He answers evenly, calmly; despite the raging erection he’s just managing to hide under the table.

It throbs with need, begging him to touch it, relieve it, do something about it. Tom refuses.

He’s trying so hard to pay attention to your questions, to focus on your homework, but it’s just so difficult.

You sigh and prop your chin on your hand, gazing at him with a look of confusion. “Tom, are you listening to me?”

He forces his thoughts away from unholy places, using all his willpower to focus on you. “Yes?”

“I asked if you know the wand movements for Silencio? I have a hard time remembering.”

A hard time…

Tom’s thoughts go right back to imagining your soft hands running along his cock… stroking it… whispering soft praises…

“Tom!” You rest your hand on his, snapping him out of his reverie. You’re frowning now. “Are you okay?”

“I’m fine,” he forces out, moving his hand away. “You wanted to know the wand movements for…”

“Silencio. I know you make a swooping motion and then flick, but do I flick up or down?” You gaze at him expectantly.

“Down.” Now that you’re not smiling it’s easier for him to focus. He takes a deep breath and exhales, trying to will away his erection.

No such luck.

After scribbling down the answer in your notes, you cast the spell, summoning a bubble of quiet around the two of you. You beam with pride, and Tom’s stomach erupts with butterflies and heat.

This was a terrible idea. A truly, horribly, absolutely terrible idea.

“… Tom. Tom. Tommy.”

He blinks, refocusing on you. “What?”

You hide a grin. “Where are you going off to? In your mind?”

He flushes a bit. “I don’t know what you’re talking about.”

You lean closer. Tom panics a bit, resting his hands in his lap to hide himself. The motion makes you glance down.

“Oh.”

Tom’s face flushed hot, his stomach churning with anxiety. “It’s just a natural thing! It doesn’t mean anything!”

You tilt your head, giving him a look. He flushes redder and shrinks a bit in his seat.

You know his secret now. Even death would be better than this. You, his mortal enemy, knowing he has a uncontrollable—

“Do you want some help?”

Your words startle him from his thoughts. “What?”

You gesture to his lap. “Do you want some help?”

He stares at you, utterly baffled. You’re not mad. You’re not disgusted. You’re not shocked and appalled. You’re just…

“You want to…” Tom hesitates. It doesn’t seem like a joke, but he’s not too sure. “How?”

You smile and duck under the table. His breathing stops. You crawl over to him and gently nudge his legs apart, settling yourself between them. You smile up at him, and he stifles a whimper at the sight.

You look beautiful, your perfect features warm with a smile.

“Have you ever had a girl do this before?” You ask softly, resting your hands on his thighs. The touch is electrifying.

Tom shakes his head, not trusting himself to speak. You look a bit surprised, but your smile grows a little. “I’m gonna use my mouth.”

His brain crashes. Your… mouth…? Your perfect, wonderful, smiling mouth on his dick?

“Oh, yes, please,” he breathes out, a soft whine to his tone.

A pleased look crosses your face. You move your hands up to undo his belt, and your palm bumps against his erection. His hips jolt and he lets out a choked sound. Even just that small touch feels better than his own hand ever could.

You undo his belt and pull down his clothes enough to reveal his aching cock. The revulsion hits Tom immediately. He clasps a hand to his mouth, fighting the urge to vomit. He forces himself to look away, trying not to cry.

You were so perfect, wanting to help him; and yet here he was, a dirty disgusting person. Tom squeezes his eyes shut, the orphanage nuns’ words echoing in his mind. Tainted. Evil. Unholy. Devil-ridden.

And then—

“You’re so pretty, Tom,” you breathe, fingers reaching up to gently trace the veins on his cock. He whimpers at the touch, hips lifting up, seeking more of your touch.

His eyes open, peeking down at you. Your expression is awed. Hungry. Eager.

You look up at him and smile, leaning forward to lap at the tip of his cock. Tom moans, fingers gripping the arms of his chair. Your tongue is hot, warm, wet. The feeling is exquisite.

His mind melts to mush as you wrap your lips around his dick. He moans again, head falling back against his seat as you start to suck on his cock, ravishing it with your tongue.

You rest your hands on his thighs, keeping him from bucking up his hips as you bob your head up and down his cock. Tom tries hard to stifle his moans, but to no avail. You’re just too good.

You swirl your tongue around the tip of his cock, pulling back before taking him down again. Tom whimpers at the feeling, one of his hands falling to your head. He can’t help himself; it feels too good.

He pushes your head down a bit, making you choke on his cock. He stops immediately, panic flaring in his chest. You’re going to stop, or get mad, or something!

But instead you moan. You moan around his cock, making him shudder from the vibrations. You move your head down voluntarily, choking yourself on his cock.

Tom’s hand fists in your hair. He moans loudly, head falling back once again. Your mouth and throat feel heavenly, all hot and wet and tight. It’s so much better than his hand.

He can feel the familiar feeling build up. He’s going to cum. He tries to force a warning from his throat but all he can do is whine as he cums down your throat.

It’s like pure heaven. It’s a wonderful, haze-inducing release that leaves him breathless. Tom gazes blankly up at the ceiling, body twitching from the aftershocks.

You slowly pull off, pressing a kiss to the tip of his dick. It makes him jerk and whine again. He looks down at you. You’re sitting there, licking your lips. Giving him such a look of praise. It makes him melt.

“How was it?” You ask, gently running your hands up and down his thighs. He shivers and struggles to answer. It takes him a moment to gather his words.

“Perfect,” he whispers. “I— I didn’t know it could feel that good.”

You smile, clearly pleased with yourself. You crawl out from under the table and settle back into your seat. “Let’s finish studying now, alright?”

Tom nods and tucks himself away. There’s nothing on his mind but a lingering sense of awe. “Yeah,” he murmurs, a faint smile playing across his lips. “Alright.”

You reach out and give his hand a soft squeeze, smiling warmly at him. It sets off a warm glow in his chest that makes his body all tingly. His cheeks flush and he looks down at his hands.

Perhaps his plan can wait for now. If you’re willing to do that again… maybe there is some value in keeping you around after all.

Taglist: @jillian2003 (sorry it won’t let me tag you properly)

[incognit0slut]

Right Kind of Wrong (12)

She never thought she would be involved in a murder investigation and encounter her one-night-stand again, the awkward guy who isn’t exactly that good in bed—Or is he? Offended by the sentiment, Spencer is determined to prove her wrong… But as he gets tangled with the beautiful stranger, he realizes there is more to her than what meets the eye.

Part Summary: Spencer gets closer to the truth while she feels suffocated by the situation. wc: 4.3k

Series Warnings: 18+ explicit content, graphic details of murders, mentions of suicide, mentions of SA

a/n: Let me give you a long part as a token of my apology for being a slow writer. I hope this was worth the wait

Other parts: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

"WE BELIEVE WE ARE DEALING WITH A MALE OFFENDER IN HIS LATE 20s TO EARLY 30s," Aaron Hotchner announced, his voice loud and jarring. "Based on the crime scenes, the Unsub doesn't have a lot of experience as they were most likely done in a moment of rage."

The team stood in front of the bullpen, facing a room full of officers and agents scattered along the space. Pens clicked and notepads rustled around them as everyone prepared to add insights to their unfolding narrative.

Rossi, who stood by the evidence board, skimmed his eyes across the room. "It suggests someone who is impulsive and might have difficulty controlling urges. This could also be a sign of an underlying mental illness."

"It's likely that there is some kind of history there, either of abuse or trauma in their childhood," JJ added. "It seems that the Unsub may have difficulty connecting with or relating to others and may be socially isolated as a result. He would mostly like to keep to himself."

Spencer took a step forward and carried on with their profile of the unidentified suspect. "The Unsub might also have grown up in a deeply religious environment. Their beliefs may have become twisted and distorted, leading them to believe that they possess a unique calling to carry out their crimes as a way of punishment."

"Based on the victims, the Unsub has targeted specific people whom they believe have harmed one of our witnesses," Morgan added, his voice seeming to turn deeper as he continued, "Y/n L/n."

A jolt of electricity surged through Spencer's consciousness. The human mind really was a powerful thing. Somehow the simple sound of her name projected the memories he had of her and suddenly he was seeing her face, her radiant smile, her beautiful eyes—he was seeing her so clearly as if she were standing right before him.

But then Emily moved past him, jolting him awake from his reverie as she bumped against his shoulder. "The Unsub has a sense of loyalty to her that they are acting out these crimes as a desire for retribution on her behalf. They might believe that they have a connection or some kind of relationship with Ms. L/n."

"We believe the Unsub might know her personally," Hotch addressed, his eyes, sharp and penetrating, scanning around him. "Go through places where the witness is most likely to go. This could be her neighborhood, workplace, daily commute, and so on."

The atmosphere seemed to shift as he finally dismissed the room. Everyone rose from their seats, each one heading to their respective posts and assignments. It didn't take long for the phones to ring in the background, followed by the constant shuffle of feet as the entire space started to come alive.

And as Spencer turned back to his desk, a familiar man pushing the glass doors of the office suddenly caught his attention. His steps faltered while the man looked around the room as recognition hit him. Spencer walked over, addressing him as one of the witnesses. "Mr. Adler?"

The other man blew out a sigh of relief. "Eric, please." He entered the office and gave Spencer a look. "The people downstairs told me I could find you here."

"You were looking for me?" He frowned. "Is there anything I can help you with?"

"I hope so," Eric replied. "Has there been any missing person report lately?"

The confusion on his face grew prominent at the question. "Not that I know of. Why? Is someone you know missing?"

"A coworker of mine hasn't shown up to work and I can't contact any of his family members," he explained. "I'm starting to get worried."

"What's his name?"

"Oliver Walsh."

Having an eidetic memory helped him recall the name easily. His mind went through all the information he gathered these past few days and remembered the exact name written on the list of employees. "When did you last see him?"

"Three—no, four days ago. He left work looking very troubled."

Spencer's brow was furrowed, his eyes fixed unwaveringly on Eric's. "Troubled?"

Eric nodded. "He seemed distracted."

"Do you have any idea why he acted the way he did?"

"No," he responded. And then it suddenly happened. His eyes, previously engaged in maintaining eye contact, drifted upward for a fleeting second. It was as though a switch had been flipped in his mind and the gears of his memory whirred to life. "Although he did seem to act different that day... especially towards Y/n."

His stomach churned. A subtle tremor coursed through his limbs, betraying the unease that was slowly but unmistakably creeping into his consciousness. "...Y/n?"

"You remember her, right? She was with me the night it happened."

Remember her? She was the only person he couldn't stop thinking about. Spencer cleared his throat and leaned forward. "I'm aware Ms. L/n was also a witness."

"Well, Oliver has been fixated on her for so long, everyone in the office knows this. Y/n mostly thinks of it as a joke but I don't think Oliver sees it the same way as she does."

"And something happened between them on the day you last saw him?"

"I'm not sure." Eric sighed. "I saw them talking after work hours, and by the looks of it, I think Y/n was pissed at him." He then crossed his arms, his brows in deep concentration as he seemed to be recalling that day. "She looked like she was under a lot of stress, actually."

"Did you hear what they were talking about?"

"No. But after that, Oliver didn't seem like himself anymore. Then he didn't come to work the next day..." Eric trailed off, his eyes casting down before he mumbled, "I still don't know where he is now."

Spencer's mind suddenly became a whirlwind of calculated chaos, connecting the dots with lightning precision. His heart raced in his chest, pounding out a rhythm of urgency that echoed in his ears. There was no room for hesitation, no luxury of second-guessing.

He needed to move fast.

"Emily!" He called out as he saw his friend walking past them, quickly stopping her pace at the mention of her name. "Can you help Mr. Adler file a missing person report?"

"Uh..." she looked between the two men, uncertainty written across her face. There were questions lingering at the tip of her tongue but she stopped herself when she saw the urgent look Spencer was throwing at her. "Of course," she decided to agree, her attention shifting to the other man. "Right this way."

With a swift, purposeful stride, Spencer left them behind, his footsteps echoing the urgency that had taken hold of him. His heart was still racing when he walked down the corridor, quickly making his way to the room down the hall.

The door swung open with a resolute push, and he entered the room, his senses on high alert. "Garcia."

"I wasn't doing anything!" The woman sitting before him shrieked, closing the window tabs on the screen in front of her. Usually, Spencer would tease her on how unprofessional it was to be doing something else that wasn't related to work, but he didn't have the time to engage in playful banter.

Spencer stepped behind her, placing a hand on the back of her chair. "Garcia, I need you to find Oliver Walsh for me."

She wasted no time. Her fingers danced across the keyboard with a rapid, almost feverish intensity. "Oliver... Walsh..." The soft clatter of keys echoed in the room as she navigated through files and databases. "There are too many Oliver Walsh in this country."

"He works at the same company as Y/n."

"Should've mentioned that sooner." Her eyes scanned lines of text, images, and documents in front of her. "Bingo. Oliver Conrad Walsh was born on 18th December 1991 as an only child—wait, look at this. His family was part of The Haven Hill... a sanctuary of unwavering faith and profound tranquility?"

"Is it some kind of a cult?"

"I don't think so." Her eyes landed on an old article buried within the archives and clicked on the link before a picture of a worn-out brochure greeted them. "Prospective members are welcomed into Haven Hill, a secluded and serene enclave where faith and tradition unite. It seems like a very tight-knit community with a very religious belief—oh!"

Her fingers moved as she navigated through digital records. "Reid..."

"What is it?"

The screen suddenly displayed a grim history of illicit activities and misdeeds, a virtual breadcrumb trail leading them closer to the truth.

"Oliver Walsh was far from being a saint albeit growing up in a religious environment. Along with his group of friends, he was constantly rebelling ever since a very young age. He had to do a lot of community service for it too; underage drinking, burglary, public disturbances—oh dear."

"Attempt sexual assault?" Spencer read out loud.

"...a group of underage boys was proved guilty of trying to violate a fourteen-year-old girl on school grounds—"

"Garcia," Spencer stopped her, not wanting to listen to the rest of the story. "Give me his current address."

"Already on it," she responded, her fingers hovering over the keyboard.

Spencer's heart pounded in his chest. He couldn't believe this, the suspect was no longer a shadowy figure; they were becoming real, tangible, and within his grasp. Then his eyes caught the shot of the man on the screen. A jolt of recognition surged through him as he scrutinized the suspect's image on the screen. The face staring back at him carried a haunting familiarity.

Memories raced through his mind like flickering images from the past. He remembered him, he always remembered people's faces, and that man right there was the same man he had seen in Y/n's house that afternoon. There was a huge chance this was all a coincidence.

But there was also a possibility of Oliver Walsh being the Unsub.

He didn't know which one was true, but what he did know was that he needed to find out the truth.

The sudden, shrill ring of his phone shattered the intensity of the moment. It was a jarring intrusion, snapping him back to the present. With a swift, almost automatic motion, Spencer reached for the device and answered the call without looking away from the screen. "Yes?"

"Agent Reid," the person on the other line greeted, their words rushed in a moment of panic. "I can't find her."

Spencer pulled his phone away from his face and glanced at the caller ID. Officer Anderson. A sense of relentless panic coursed through him as the realization hit like a lightning bolt. He felt a knot tighten in his stomach, a visceral reaction to the gravity of the call.

"What do you mean you can't find her?"

"I—" There was a sigh. "I-I was watching inside my car and I somehow ended up sleeping. She's nowhere inside the house now—"

"Did you call her?"

"She left her phone in the kitchen."

At that moment, he was acutely aware of every heartbeat, every pulse of blood coursing through his veins. Panic resounded through his thoughts, casting a dark shadow over him. It was a visceral, gut-wrenching sensation that threatened to paralyze him like the ground had suddenly shifted beneath his feet.

"I apologize, Agent Reid."

But then anger coursed through his body. He was suddenly angry—Angry at the situation, angry at the Unsub, angry at the officer who couldn't seem to do his one simple job. His jaw clenched, his knuckles turned white as he gripped the phone tighter, and his eyes flashed with fury.

"Being sorry isn't going to help you find her," he snapped. He then straightened himself. "I'll be there in ten."

"What happened?" Garcia whispered, noticing the sudden tension in his shoulder.

Spencer shoved back his phone and turned to her. "Garcia, I need you to inform the others, I have to go."

"What?!" She yelped, watching as he turned away from her. "Right now? Where are you going?"

But her question was left unanswered as he bolted out of the door.

There was no other way to explain what being followed by a disguised officer felt like. It was suffocating. Even everything felt suffocating these days, and when she meant everything, Y/n really meant everything.

At first, the idea of protection had offered comfort, but now it was an oppressive weight that bore down on her shoulders. Everywhere she turned, a shadow loomed, an unwelcome reminder of the loss of her freedom. The suffocating sensation was inescapable, restricting her every movement.

The constant surveillance had pushed her to the brink of stress and manifested in the form of tension that coiled within her, ready to snap at the slightest provocation. Her patience wore thin and the weight of anxiety rested heavy on her chest. One moment she was on the verge of tears, the next, she was snapping with sharp words, irritable and sullen.

She really needed a break.

"You should go to the gym," Sandy had suggested the other day. "It might help relieve the stress."

After debating whether it was a good idea to visit the gym when she couldn't even remember the last time she stepped foot on a treadmill, she finally decided to slip out of the house. She walked over to the black car she already grew familiar with and stood by the window—only to find Officer Anderson fast asleep behind the wheels.

A pang of guilt tugged at her, but the allure of temporary freedom was too strong to resist. It was an unexpected opportunity, a rare moment of freedom dangling before her like a tempting prize. Was it wise to leave without informing him? Probably not. But she couldn't imagine herself working out—all awkward, tired, and sweaty—with Officer Anderson watching her from the corner.

So silently, she retraced her steps. Her pulse quickened with a mix of trepidation and exhilaration as she walked away. It would be fine, she had assured herself. She would be back before he realized she was even gone. And with that thought in mind, she quickly made her way to the closest gym around the corner.

The place felt both familiar and foreign as she navigated the equipment, but she finally found her place in an exercise routine. Her muscles protested the unaccustomed effort, but with each movement, she could feel the tension slowly dissipating. It wasn't until she could barely feel her limbs anymore that she stopped and left the place.

Even though her body was aching from pushing her body to its limit, she did feel slightly better. Her steps also did feel lighter when she walked back to her home, and her mind felt calmer, and less chaotic than it did when she left her house. But as she approached her street, a knot of unease tightened in her stomach.

The evening's fading light cast long, ominous shadows that seemed to reach out and embrace her front door, which stood ajar. It was an unexpected sight, one that sent a chill down her spine. Two things flashed into her mind at that very moment. One, she realized Officer Anderson was nowhere in sight. His usual parked car looked very much abandoned with no one inside the vehicle. Two, she could probably die if she entered her house alone in this state.

Maybe she should call the police. Maybe she should call Spencer... Yeah right, she didn't even have his number. Maybe she should just call Agent Jareau. Or Agent Prentiss. Yes, that would be a wiser option than to—shit. She clutched her empty pockets.

She didn't even bring her phone to begin with.

She cursed to herself. This was a bad, bad decision. She was probably going to regret this, but she couldn't just stand there and do nothing. So very cautiously, she approached her house, her senses on high alert.

As she pushed the door open wider, it revealed a slice of the dimly lit interior. She couldn't help but hold her breath as she stepped over the threshold, her footsteps hesitant, almost reverent, on the creaking floorboards.

She stepped deeper into her home and slowly entered the dimly lit kitchen. Her breath caught in her throat as she saw a figure standing shrouded in shadows, a silhouette in the gloom. A gasp of shock emitted through her lips, but as her eyes adjusted to the darkness, recognition washed over her like a tidal wave.

"Officer Anderson!" She yelled, placing a hand over her heart. "You scared me!"

"Ms. L/n," he breathed out, his expression softening when he saw her. "Where have you been?"

Guilt washed over her as she noticed the concern in his eyes but she quickly dismissed it, stepping further into the room, and grabbing a water bottle from the fridge. "I went to the gym."

"Why didn't you tell me? I'm supposed to accompany you—"

"You were asleep, I didn't want to wake you."

"You should've woken me up, Ms. L/n."

"You looked like you could use some sleep," she mentioned before glancing at the clock perched on the wall. "I was only gone for like an hour, it's not a big deal."

Officer Anderson looked like he wanted to argue with her, but stopped himself before letting out a sigh. "Can you please inform me whenever you step out of the house, even when I might be asleep?"

His concerned gaze met hers as he turned to her, a mixture of relief and worry in his eyes. Guilt twisted in her chest as she nodded. "Alright, I will."

"And please bring your phone with you at all times."

Her eyes snapped towards the device sitting on the counter. "I did forget to bring it with me, I'm sorry."

With a nod, the officer excused himself, giving her a moment of privacy to collect her thoughts. She watched him go, his retreating figure a testament to his dedication, despite the surprise of her brief absence.

Feeling overwhelmed by the mix of emotions—being scrutinized by an authority, being a potential target of a serial killer still on the loose—she retreated to her room, seeking solace in the familiar confines of her private space. She quickly peeled off her clothes which clung to her body from all the sweat and stepped into her bathroom.

The sound of running water filled the room as she turned on the shower, its warmth a soothing embrace. Steam enveloped her, and as the water cascaded over her body, the tension that had coiled within her began to unravel. Under the gentle caress of the water, she closed her eyes. Her shoulders trembled with the tension she had carried for so long, the weight of guilt, responsibility, and emotions too complex to unravel.

How had things turned the way it did? A few weeks ago her life seemed normal, yet now she was linked to a crime with her name at the center of it. This felt so unfair. Why her? Why now? Wh—

Bang!

She opened her eyes.

What was it now?

It sounded... it sounded like a thud coming from somewhere in her house.

The sudden interruption jolted her from the sanctuary of the shower. Her heart raced as she hastily wrapped a towel around herself and emerged from the bathroom, water droplets glistening on her skin. The door to her room suddenly wrenched open with force before a figure she last expected walked in.

"What the—Spencer!" She gasped, not believing who she was seeing. "What the hell?!"

His gaze met hers, and she saw something in his expression that sent a shiver down her spine. It was an anger she hadn't seen before, a storm brewing beneath the surface of his usual calm demeanor. His jaw was clenched, and his normally warm eyes were steely and cold.

"Are you crazy?" He suddenly snapped.

"Me?" She wailed, tightening the towel around her body. "Are you crazy? What are you even doing here?"

"What were you thinking going out without notice?" Spencer's tone was incredulous, his anger unabated. "Without informing Officer Anderson?"

So this was why he was here? To confront her reckless action perhaps?

She scoffed, crossing her arms over her chest. "He looked like he needed the sleep after constantly watching me with little to no rest."

Spencer's frustration deepened, his brows furrowing. "He's assigned to you to keep you safe. You can't just disappear like that, it's irresponsible."

"Well excuse me for being considerate," she retorted.

"You were being reckless."

"No," she argued. "I was being thoughtful."

"Why are you not taking this seriously?" His voice grew sharper, a desperate attempt to make her understand as he stalked towards her. "Can't you understand you were putting yourself at risk?"

"I was only gone for an hour."

"Something could've happened!"

"But nothing did!"

She met his frustration with a defiant glare, holding her ground as he approached her, his tall, intimidating frame only stopping when he was directly in front of her. She saw his eyes drift down her body before pinning his gaze on her face again.

"Y/n, I need you to be safe."

"I am safe! I've been safe ever since you guys put someone to watch over me. I've been safe ever since the same person has been following me everywhere I go, which if you haven't caught on my sarcasm, has made me feel more like in prison than actually feeling protected." Her voice was tinged with frustration as she squared her shoulders, refusing to back down. "It's like I'm being controlled."

"It's not about controlling you, it's about ensuring that nothing bad happens to you."

"I was simply gone for an hour, Spencer," she reminded him again. "No need to go all dramatic over it."

Then in the blink of an eye, the heated tension that had filled the room seemed to snap, leaving them both breathless and disarmed. But instead of reacting with anger or shouting, Spencer's frustration found a different outlet.

"Why are you not fucking listening to me?"

And in a sudden and unexpected gesture, he cupped her face in his hands. Their eyes locked for a fleeting moment, filled with a mix of emotions too complex to name. And then, in a burst of raw and unspoken desire, he leaned in and crashed his lips on her.

She was too stunned to speak, too stunned to respond. There was nothing else she could do but to give in his advance, because dear god, it felt too good to have his mouth moving against hers again. Spencer had kissed her many times before, but not like this. Not this rough. She could even feel the frustration seeping from his body as his lips moved against hers with urgency.

He continued to kiss her, biting hard at her bottom lip, teeth gnashing against the soft flesh of it as a rumbling noise vibrated deep in his chest. Each time she gasped in response at his teeth, his tongue forced its way into her mouth and lapped so mercilessly that she was left desperate for air each time he returned to assaulting her with his teeth and lips.

"Is this what it would take for you to listen?" He growled against her mouth. "Is this what you want?"

Speechless, she responded to his ardor with a fervor of her own, her body leaning into his, fingers tracing the contours of his face. She continued to stare up at him, trying to quickly piece together what was going on, though she nevertheless found herself aroused. It was as if their desire, long suppressed by their arguments and differences, had suddenly ignited, leaving them both powerless to resist the pull of passion.

"Answer me," he barked out.

"Yes," she finally breathed out. "Yes."

Releasing her face, his hands rose in between them. Her eyes dropped down, watching as he gripped her towel with so much force before he ripped it off her body in one swift movement, throwing the material onto the floor.

His eyes roamed over her body, tracing every curve and contour with an intensity that sent shivers down her spine. His hands traced over her sides before he gripped onto her hips, tugging her towards him desperately. "I won't be able to restrain myself."

She knew what he meant. She was acutely aware of the tension seeping from his body, all the anger, all the frustration. She understood how hard these past few days had been for him, she could even feel it from the taught in his muscles. He was tensed and from the way he was looking at her with hooded eyes, he needed a release.

And so did she.

The intensity of the moment had ignited a different kind of fire within her, and her previous anger and frustration began to fade away, which was why she found one of her hands caressing his cheek, pulling him closer as he leaned his forehead against hers. "Then don't," she whispered. "Use me."

His eyes snapped to her.

"You can use me, Spencer," she assured him. "Use me in any way you want."

There was a moment of silence as he contemplated her words. "Do you mean that?"

She nodded. She missed this—dear god, she missed him so much. She hadn't realized how much she missed being close to him until she was standing naked underneath his heated gaze.

She pressed her lips against his softly. "I'm all yours."

And then he deepened the kiss and she melted into him, her tongue dancing with his. He slowly loosened his grip on her hips and found its way onto her hand resting against his cheek. He pulled away from her, tugging her hand towards him, his mouth hovering above her wrist.

"In any way I want?" He asked, gently brushing his lips over her pulse.

"Any way you want."

He smiled at her then, the first smile she saw on him ever since he barged into her room unexpectedly. But there was something about his smile that sent her into a frenzy of nerves. It wasn't genuine, it wasn't gentle.

It wasn't until his other hand reached behind him that she finally understood what his smile meant. Because right at that moment, to her surprise, he retrieved a pair of handcuffs from his pocket, and with a soft click he carefully bounded one of her wrists, the steel bracelets feeling cool against her damp skin.

And then his smile morphed into a more dominant edge as he leaned closer, his eyes burning with need.

"Any way I want."

>> NEXT PART

a/n: Did you think I wasn't going to insert another smutty scene in between all the chaos? You thought wrong!

.

taglist #1

@tereresrock @casthings @vader-is-hot @maevethelesbian @whereintheworldisspencerreid @reidverseq @niyahwhoreworld @l4venderia @theintrovertedthespian @lovelyxtom @tayzerr-72 @mulbsstuff @dorothleah @stevenknightmarc @prettyboyspenceee @gracesmusings @kalulakunundrum @fearlessmoony @r5court @simp4f1 @thecrazytealady @nyeddleblog @ghostheartbeat @comfortzonequeen @iiheartbowie @louderfortheback @busy-buzzing @alexis-exe2008 @imtherealslimmoony @baeofevery @elamultistan @lyxennz @avid-fic-reader-05

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Don’t forget to interact with the story!

[starshinesluvr]

:¨ ·.· ¨:⠀ `· . ୨୧ various edward nashton hcs & thoughts !!

contains: a mention or two about his killings in the movie, religious trauma, & drug usage. word count: 1.4k

writers note: hi friends! guhfhkj i am being brave and posting some writing on main.... ( ;´ - `;) here are a few headcanons and general thoughts that've been Marinating in my mind for a while. i felt like this was getting quite long, so maybe i'll have another post with some more soon.. because i have many thoughts..enjoooy! ^_^

♡ obviously he is obsessive. and loves repetitive actions and routines. his main special interest would be the renewal fund and the wayne family. (obviously) he has a big sense of moral justice. ⋆⭒ one of his main repetitive actions would be counting. he does this a lot with his fingers, the books on his shelf, or even the letters on a neon sign outside. just quickly under his breath. ⋆⭒ he also would sway. he usually does this in his apartment, when hes scrolling nigma or something. it really calms him. i think he would be too self-conscious to do it in public though. the King of masking. but occasionally he cant help himself when he's really focused at a café or something.

♡ but some of his other interests include: retro games, ancient civilizations, and general puzzle games. and god this man is a consistent minesweeper frequenter. heavy on frequent. loves 2048, sudoku, does the daily crossword on newspapers.

♡ half of the apps on his phone has to be games. 'games on his phone?' yes.

♡ i think he also has a undying love for pokemon. unsure what his favorite type would be, i think he would cycle through different types every single time the interest pops back up in his head again.

♡ AND GUYS GENUINELY HERE ME OUT. i think he helped code the club penguin rewritten website . im So. so serious on this one.

♡ OH OH. OHHH!! one of his longest lasting special interests? languages. how this starts? i imagine young edward back at the orphanage, already finished reading every single book he could find... every single english book, that is. maybe he'd sneak into the library. he's sure those books have riddles that can only be solved if you understand its language first. ⋆⭒ he finds interest in the progression of languages especially. how they change over time, and the origin of words and their sounds. ⋆⭒ though i don't think he would be a polyglot. but he'd know a lot of random words here and there, and some slang words no one would expect him to know from many languages!

♡ but a language he especially would like is ASL. he'd have a heightened interest of any form of communication that doesn't involve words. like, the font wingdings y'know? any kind of 'code.' ⋆⭒ he'd especially love learning ASL on his own during his younger years, since he struggled with speaking more often back then. he doesn't talk to anyone much now a days anyways, unless its small talk. (okk i see you selective mutism representation! >_< )

♡ he is sadistic. not a headcanon, just fact. this can be seen in his killings in the movie. though he primarily killed to give a point to the city of gotham, and to become a symbol much bigger than himself, he never gives these people quick and simple deaths. he enjoys these killings. cutting off the mayor’s thumb while he was still alive, sticking rat poison in officer savage, and sticking his head in a rat cage, waiting for them to eat him alive shown for everyone to watch. these were thought out, and he enjoyed watching. he enjoyed putting on a show, and their deaths were his entertainment.

♡ though outside of being the riddler, edward has a lot of self hatred. this fronts as anger, standoffish and anti-social behaviors. he doesn't mean to be mean, its just deep rooted. a combined hatred of everyone who'd hurt him prior.

♡ even though he hates himself, he also thinks of himself as better than anyone else. he feels as if he is worthy, and he has the intellect to show it. he consistently searches for small, daily positions that keep him in power.

♡ has a love/hate relationship with his own intellect. he wishes he wasn't cursed with his knowledge, sometimes he just wishes he could be blind and stupid to the darkness of the city. but he prides himself in being smart, especially in being good with numbers. its something he knows he can actually do correctly. he loves the certainty of numbers, how they never change or lie.

♡ i think would mostly hate how smart he was when he was younger. he hated how it distanced himself from genuinely everyone, and at one point he wasn't sure if he just enjoyed being reclusive or if he simply just got used to it. ⋆⭒ he would hate how the other kids or his classmates would only talk to him when they needed answers for their work and how they would expect him to know everything. (he sadly did.)

♡ he loves consistency. but hates complacency. he knows things can change, things could be better. but he finds comfort in his routines, even if it makes his world grey.

♡ due to religion being constantly drilled into his brain throughout his childhood, he experiences severe trauma. when he does something that is not pleasing to the beliefs he was taught, he self deprecates. lots of talking down on himself. he still can remember a few memory verses and prayers, and sometimes obsessively recites them to himself. ⋆⭒ he knows some of his fears are honestly a little irrational, that maybe one day he'll just be struck down. he's trying not to let them take over his logic, but he struggles. he is constantly upset that he still has these childhood fears that bind him.

♡ speaking of his time during the orphanage: his dirty unkempt upbringing and the long lasting effects of it could be seen in his living space. the chaotic and 'dirty' environment is almost comforting to him. sticky notes with ramblings of riddles and math problems. besides, his brain works too fast to care where things were placed in his home.  

♡ despite his messy apartment, he hates feeling dirty. this is also thanks to the orphanage. he’s well kempt. everything is messy, not dirty. the orphanage was sadly, both. he looks like a sopping wet rat, it doesn't mean he smells like one though.

♡ he also has a fear of smelling bad, despite knowing he thoroughly washes. ⋆⭒ i think he would smell like soap or just his laundry detergent. he wants to try different scents, he kind of likes the idea of having a 'signature scent,' but honestly some smells give him a headache if they're too concentrated. and he can't have that while doing his everyday activities. ⋆⭒ its the kind of scent where you can only really smell it on the person when you hug them, y'know? which is kind of fine to him, he'd rather smell like nothing than something bad.

♡ he absolutely despises drops. any kind of heavy drug really he stays away from. he knows just how easily it can unravel a person, after constantly watching kids as young as 12 years old become addicted to it. his intellect would go to waste if he ever decided to start using.

♡ BUT! definitely smokes weed, or just in general he smokes. he probably tried it for the first time in his early twenties, hated it and dropped it. but he CANNOT continue handling his anxieties raw. so he picks it up again in his thirties. only occasionally... kind of.

♡ he loves LOVES animals. i like to think he had a little hyperfixation on animals and the general care for them when he was younger, so despite never having a pet, he could definitely at least recommend what to feed your average household pet.

♡ not only that, but he finds interest their internal structures, and the similarities to the human body. (i honestly don't know where these hcs came from, but bare with me here.) ⋆⭒ he loves dogs, but he's found himself liking cats a bit more recently. especially strays, he finds their resilience to continue living despite their circumstances to be admirable. ⋆⭒ he'd love to adopt. but he can hardly keep track of his own health, not to mention the state of his apartment. and don't even get him started on the extra expenses. ⋆⭒ though, i think he'd be pretty scared of interacting with any stray, maybe just animals in general he'd be pretty hesitant of being around. he doesn't like the uncertainty. and hates remembering his bad experiences with animals when he was younger. ⋆⭒ i think he'd bring himself to a cat café for one of his birthdays after weighing the pros and cons, after a day that was especially rough on him or something. he usually doesn't care for the date, but he honestly just likes using it as an excuse to go out somewhere whenever he feels like it. (he probably cried either from the animals' cuteness or the fact that he was there alone, maybe a bit of both. poor employees probably didn't know what to do.) ⋆⭒ i also think it would be funny if he was allergic, but obsessed. constantly sneezing but he can't help but want to cuddle up with them. but he doesn't have to be.