#vertical patterned wall covering

[inspiredlivingspaces]

IG chairishco - Georgetown DC

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

[v6quewrlds]

https://www.tumblr.com/v6quewrlds/776500596818804736/httpswwwtumblrcomv6quewrlds77642709128468889

HELLO? NOISE COMPLAINT???

im sorry i need this into a blurb rn

first thing i've written in days, pls be kind lmao.

She yawned, nuzzling closer into the warmth radiating from Joe as the early morning light peeked through the slats of her vertical blinds. She placed a gentle, wandering hand on his torso, her chest warmed by the heat rolling off of him. Her mind was flooded with memories, replaying every intense moment from the previous night like a highlight reel on repeat. The feel of Joe's strong arms around her, the taste of his skin, the sound of their muffled moans echoing off the apartment walls—it had been more than she could have ever hoped for after the long stretches of solitude.

Her phone, perched on the bedside table, chimed with a new email notification. She groaned, knowing full well she wouldn’t be able to focus on rest until she checked the source. Squinting at the screen, she read the sender's name and felt a knot tighten in her stomach: her property manager. She scanned the email, the words 'noise complaint' jumping out at her immediately. The heat of embarrassment rushed to her face as she realized the source of the disturbance had undeniably been their reunion late last night.

"Oh, shit," she murmured, nudging her boyfriend. "I got a noise complaint."

Joe's eyes were slow to open, yawning as he stretched out. "Really?" He spoke finally without a hint of urgency. "What’s it say?"

She read aloud the email, her voice a mix of mortification and annoyance, "Your attention is requested regarding excessive noise coming from your unit last night. This has disturbed other residents. Kindly keep it down in the future to maintain the peace of the community."

Joe chuckled, propping himself up on his elbow, a smug smile playing on his lips. "Looks like we got a little too carried away." He leaned in and kissed her cheek, his breath warm against her skin. She swatted at him playfully, her mind jolted awake by the situation's absurdity.

"Carried away? We got a noise complaint, Joe!" She huffed, hiding her face in her hands. "What if it's Mrs. Jacobs next door? She's so sweet, and now she thinks I'm…" she trailed off, unable to finish the thought.

Joe's chuckles grew into a full laugh, his eyes sparkling with mischief. "That you're happy?" He leaned in closer, his hand tracing a lazy pattern on her bare hip. "That you're alive and enjoying yourself?" He nibbled at her ear, whispering, "That you're in love?"

She rolled her eyes but couldn't help the smile that tugged at her lips. "You know what I mean," she said, though the warmth of his touch was already distracting her from the email. She threw the covers off and swung her legs over the side of the bed, her feet landing on the cool hardwood floor. "We're going to have to be more careful next time. Maybe I'll drive down to your place. No more…" she waved the phone in the air, "disturbing the peace."

Joe sat up, running a hand through his messy hair. "I don't know, babe," he said, his voice thick with sleep. "I think I kind of like the idea of you trying your hardest not to scream my name."

She shot him a glare over her shoulder, the smile on her face belying her feigned annoyance. "This isn't funny," she said, though she couldn't hold back her own quiet laughter. "We can't have this happening every time you come over."

Joe shrugged, his eyes twinkling with amusement. "Maybe we should invest in some soundproofing," he suggested, the teasing lilt to his voice unmistakable. He watched as she gave him the finger, disappearing into her bathroom with a scowl.

[kabr0ztrousers]

Prompt idea,

Fem reader gets kidnapped or makes a deal with a demon queen/succubus, gets used as a toy for the demons huge gorgeous girlcock and learns to love it

Love your writing btw❤️

Kabr0z Writes episode 124: Dommy Mommy Demon

Find the rest of the Kabr0z Writes anthology here!

Kabr0z Writes on AO3!

CWs: Noncon; bondage; predicament torture; inhuman anatomy; Dom/sub dynamic; big power imbalance; probably more

A/N: This kinda changed a little in my head from demoness cock worship to dommy mommy demon lady, but there's just *so many* requests for similar things that I'm a little happier to take some liberties 😁

Having said that, if you want to see more demons getting up to shenanigans, do send those requests in. They're always fun to write about

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Honestly, you should've seen this coming. You thought yourself so clever when you summoned her. Double checking your sigils and rituals, making sure every candle was perfectly positioned, even doubling up on binding spells to keep her in place while the deal was struck. The summoning spell was perfect on a technical level. The only problem was, you're an idiot. What were you thinking, challenging a millenia-old demoness to a game of chess. Of all the games. You realised how fucked you were when she pulled out her own board and clock. Twenty minutes of being toyed with by a vastly superior opponent later, and your freedom was forfeit.

You stood in her dungeon. Although, stood is maybe the wrong word. Your ankles were chained together, either side of a long iron pole that stood vertically, poised against your cunt, keeping you on your toes. Every time you relaxed, even for a moment, the bulbous tip threatened to enter you.

Your calves burned. You couldn't rest. Tormenting demons danced around you with long feathers, tickling the soles of your feet or any other part of your exposed body. You were trapped here, in one of Hieronymus Bosch's nightmares. Restrained in place, plagued by masked imps wielding implements of torture.

A door opened behind you. The masked creatures backed away, cringing from the light. Footsteps came from the door, the sound almost masked by the gibbering genuflection of the minions who until so recently were gleefully tormenting you. A hand flattened on your back. The strength left your legs.

Your weight rested on the end of the bar. A ball of black iron pressing against your slit as you struggled to hold yourself up. You could barely move your limbs, unable to take any weight. A voice whispered in your ear "Would you like to be free?"

You nodded

"Do you submit to me?"

You nodded again.

A flash of light. You were somewhere else. Gone were the sounds of the gibbering devils. Gone was the smell of hot iron. Gone was the cold draft across your skin. Gone was the accursed bar between your legs. You opened your eyes a crack. You were in a bedchamber. Tapestries covered the walls, tall windows letting in the dull orange light. You were still nude, but were at least comfortable. The aching in your legs dissipating as you sank into the mattress you were sat on.

A set of long, slender claws brushed your side. You shivered with the feeling of the razor-sharp points barely touching you.

"Are you ready to be a good girl for me?" That voice again. The demoness who'd brought you here and trapped you in that stinking dungeon. Countess Mezsie. Lady of the Profaned Saint, heir to the Seven Sigils of Uryn, harbinger of the Order of the Icosahedron. And apparently somewhere around 3000 ELO rated.

She'd changed how she looks since you summoned her. Tall and curvy, like the Amazons of legend. Her skin was chrome, reflective and shining. Golden filigree danced over her skin, picking out her hips, her waist, her collarbones, intricate patterns drawing the eye to her swaying breasts and her sheath. Her face lacked a nose or eyes, a shining absence of features above a wide, grinning mouth lined with sharp golden teeth. Her hair was golden wire twisted into a circlet that rested above her brow.

You swallowed hard. Her face betrayed no emotion, but you knew she was waiting for your answer, and that it would decide your fate.

"I'm ready, Countess"

Her grin widened, mouth opening a fraction more, showing you another four rows of those neat, triangular fangs. "Good choice, pet." She teased a golden hair from her head, working it in her hands to a long, slender chain which she fastened around your neck. It tightened slowly, link by link drawing up to your neck. The cold wire pressed into your skin. Not enough to hurt, but so much that it was impossible to ignore.

"Now, you're mine."

You echoed her sentiment "Yours"

"Good kitten. Now, open wide"

Your mouth opened on its own. You couldn't move it. She put her fingers into your mouth, the claws receding as she did, vanishing back to manicured curves as her index and middle fingers brushed the back of your throat. "Stay like that. No moving"

A gag built in your throat. The muscles wanting to flex, to expel the fingers, and maybe the contents of your stomach to boot. It didn't come. A trickle of drool made its way down your chin, dangling in a thin strand that refused to break. You sat. Stock still. You wanted to pull away from her, to run. Every time you tried your muscles refused to respond, and the chain cut a little deeper.

"Every time you want to disobey, it gets a little worse, pet." Mezsie whispered into your mind "Let yourself go. Give in, it's going to be much more pleasant"

Her other hand reached down, running up your thigh. Your legs opened instinctively, ignoring your desire to squeeze shut. Cold, metallic fingers brushed the lips of your cunt, which drooled obediently for them. You screwed your eyes shut, the one part of you still under your control as your tongue stuck out and your legs opened wide, welcoming Mezsie in.

You heard her stand, chromed footsteps on the woven carpet. A fingertip pushed into the centre of your forehead, toppling you back onto the bed. She lifted your legs, placing your feet on her shoulders as she lined herself up with you. You felt it touching you. It wasn't a cock like you'd known before, not just a rod to be thrust in. It moved against you, dexterously probing and investigating you. Your mouth hung limp, you closed it when you noticed.

"See? If you're not a naughty kitten, you get rewards"

Your hand strayed to the chain, it had loosened a touch. Still too tight to fit a finger underneath, but not cutting as hard as it was a minute ago.

She leant over you, pressing that unnatural tentacle-cock into you as she took your wrist and drew your hand from your neck down towards your cunt

"Now be a good girl and rub yourself for me"

Your hand started work. You're not sure if it was you doing it or not. You didn't want to stop. Your juices were already coating your hand, even though you were only rubbing at your clit. Her tip edged into you, rolling upwards as it entered, pressing and rubbing against your g-spot. You gasped at the sensation. Stretching and rubbing, already filling you while probing against the most sensitive parts of you.

Your mouth had opened again

Your fingers worked faster, your other hand grabbing one of your tits as you already approached your peak. She was only halfway in you when you started clenching around her, your cunt squeezing her prehensile cock as it messaged your insides. You let out tiny moans of anticipation, building in volume as she drove you onward.

She buried herself in you. The pulsing and gyrating of her unique anatomy sending you to your peak. She held you by your waist, fingers sinking into your soft skin as she held you to her, cock still rubbing at you even as she pressed her hips into yours. You could feel the tip prodding at your back walls, probing the entrance of your cervix as she watched for the reaction through your orgasm. She leant over you, her tits pressing onto yours as she kissed your lips. She tasted like licking a 9-volt battery, doused in petrol. You pushed up into her, returning the kiss on her cold, lipless mouth.

She pulled away slightly "Do you want my cum?"

You nodded desperately, you wanted it more than anything

"Use your words, pet"

"Please" Your voice was little more than a whisper "please"

The demon above you shuddered. She made a sound like an old diesel engine on a cold day. You felt her pulse inside you, thickening and hardening, the tip pressing into your cervix, making you moan with a mixture of pain and pleasure as the tapered end pushed past it. Her cum was strange. It felt hot and cold at the same time, filling you with a peculiar fizzing sensation as it spurted directly into you. You wriggled, the tickling buzzing making your cunt ache. She kept you held down, pumping ever more into you. It was leaking out, coating the inner walls of your cunt, spreading that tickling tingle. Your toes curled as your eyes rolled backwards, the stimulation making you twitch and clench, muscles flexing to try and get away.

Even after she'd pulled out the demon cum kept going. Your cunt throbbed. Every beat of your heart made it ache. She sat beside you, still semi-hard, pulling your head to her lap. You could see the long, tapered tendril she'd fucked you with. Flawless, mirror-sheen gold, leaking a translucent blueish slime. Your reached your head up and kissed the tip, mouth tingling as you tasted the bizarre cum.

You settled down and closed your eyes, feeling her stroke your hair and adjust the loose chain around your neck.

###############################################

This was really meant to be done last night, not at almost midday today 🤣 it'll either be followed tonight by another episode, or we'll have a couple of days in a row chalked up on the missed counter.

Either way, I hope you enjoyed it!

[murfeelee]

inZOI Beta Release - Thoughts/Rants (Pt1: Build/Buy Mode)

This post will be my positives & negatives about Build/Buy, with a quick bit about the Zoi Creator at the end. Pt2 will cover Live Mode.

Buy/Build Creator

Ok, so I admit that I didn't watch the tutorial video, and I really should've. Cuz the controls drove me effing crazy. I wish there was a keybinding option, so we can change the WASD controls and just let the game feel less clunky to control. I feel like there's way too many button clicks to do things EA managed far easier in TS3 and ESPECIALLY in TS4.

After playing around in BB for 2 days straight I think I've gotten used to the controls & category layout. All in all I've had a great time building my first inZOI lot! ❤️

BUT! I deducted 3 points, cuz of what I effing HATE the most:

VERY limited Copy/Pasting materials/textures/patterns

VERY limited MoveObjects On (the ALT button ain't enough, Krafton!)

Not enough unique options in different BB categories

1: Materials/Textures/Patterns

It's hard AF to use their super-limited Eye-Dropper/Copy-Paste ability. We can't use the same pattern on whatever we want. Instead, it's only for "identical pieces of furniture" [read: the EXACT SAME furniture], which is THE dumbest thing I've ever seen in my life, esp. when there's variables like Gloss/Specular/Vertical/Scale/etc that I really hate having to do over & over & over & over. Whatchu mean I can't copy the texture from a right curtain to a left curtain!? Whatchu mean the rugs can't match the drapes!?

I like that there's a slider and manual text box, but I would also like a +/- button that I could click, for when I want to change the values with a click. Esp, since I'm playing in Windows Mode, and it's hard to finagle the slider with the huge cursor in the way.

It's just REALLY annoying having to manually line up all of these wallpapers so they have the same tiling & vertical values & gloss/specular values & colors; it's driving me up a literal wall.

It's easier when the walls are all connected, cuz then you can use the Paint Room feature so all the connected walls in a room are edited together. But that only works on individual floors, and is MUCH harder to finagle cuz of the way the wall meshes are split into portions based on if there's an interconnecting wall attached to it. It turns 1 wall mesh into 2+ separate meshes if there's an intersecting wall or not.

It's hard to explain, but like--I was only able to make that blue Feature-Wall segment on the wall by literally building two walls on either side of the section I wanted to be blue, and then sledgehammering the intersecting walls when I was done. You can't just color wall tiles individually--let alone copy/paste from one wall to another in a totally different room--which was a problem for me cuz my lot has several Feature-Walls.

Yes, you can select a wall or fence or something, and click the Copy button to copy that wall wholesale, but I really just want an eyedropper/save/click-drag-drop ability to just duplicate a favorite texture on a wall to use on a rug or a car or a shirt, etc. I don't want to have to demolish a whole wall mesh, just to Copy/Paste a wall's texture.

What's amazing is that it really will copy/paste EVERYTHING that's on that wall--including the decor, doors, windows, etc; AND how long the wall mesh is.

It's really cool, but jfc, I just wanna copy/paste the wallpapers. 😭

I also really really LOVE the ability to add Gloss/Specular and import our own textures to everything, it might be my fave Build/Buy feature (that and the search box ofc); but I almost feel like it's somewhere between TS2/TS4's retexture mods and TSRW's Pattern tool, just much smoother & more innovative cuz it's in-game. I've been abusing it like crazy, but Sims 3 CASt is still FAR superior.

Having the ability to at least manually add sims pizazz to the textures is delicious; the Import ability really is the best alternative to TS3's Create a Style feature. Krafton occasionally includes some nice premade pattern/texture variations, but nowhere near enough. Esp. when you have situations like THIS:

That is the ONLY workbench in the game, and not only is it non-recolorable, but it also only had ONE (1) color variation. 🤦DO NOT effing do this, Krafton. Decor's one thing, but functional items should have as much variation as possible, so we can use it more!

(Also, PLEASE more Maximalist/Bohemian/cultural content--I need Persian rugs & runners and lace doilies & tablecloths & faux fur like NOW. 🙏)

2: MoveObjectsOn

And Krafton, whatchu mean there's no Move Objects On cheat, just some [ALT] button that doesn't even work half the time?!

Doors & stairs are OBVS the worst offenders, but there's plenty of other instances I noticed, too. This game is WAY too finicky--ALT sometimes works fine, but I've been holding my breath in suspense the whole time, not knowing when it'll work or not.

BTW, spiral stairs and elevators need to happen ASAP. This is an ultra-modern world; ain't no way we shouldn't have elevators, when they're in the freaking trailer.

It KILLS me that we can't put curtains over a door; not even the shimmery Silver Part Curtain. You're killing my hippie-beaded + sheer curtain dreams, Krafton, istg.

And why can't we put chairs on either side of a dining table? (Why are there no long 3-tile dining tables?) And why can't I rotate cushions on my sofas?

Why can't I put a 3x3 rug on top of a 3x3 wood panel deck?

Scratch that--you can't put ANY rugs on the panel decks.

Why do I have to FIGHT this game to place everything?! 😩

I also dislike how the push/pull effect on walls actually DUPLICATES an extra wall, rather than just MOVING the wall to the new location. Making you have to sledgehammer the old wall, which again, just makes us have to use extra clicks for no reason.

It's also hard to see WHERE the new wall will be, with the light blue hologram/x-ray-like wall effect they use. I liked how EA had the bright neon green, cuz it just stands out better, rather than blending into the already light-blueish surroundings.

Ofc I'll get used to it the more I use it, but I just don't like it; it feels like guesswork/trial & error; and it wastes time I REALLY don't have.

I LOVE this push/pull effect though:

Apparently it only works for stairs though--it's not available for doors/arches, platforms, chairs, tables, etc, which sucks, cuz Paralives can do it on darn near everything, and I'm so jealous.

GOD I can't wait for Paralives. I still think it'll be the improvement to TS4's Build/Buy mode that I really want. This ain't it, chief. I was far too frustrated tryna make the home I wanted--which is a big no-no for me as a builder.

3: Object Variety/Variations

Krafton. Why in the HELL is there a JAIL CELL door? 🤨

There are ONLY 4 double doors available ffs (and only ONE 1-tile arch what is going on), and in your infinite wisdom, your devs were like aaahhhhh yes, in this really cutesy game full of kitty cats and glitter-butterflies, the one thing they'll need is CARCERAL architecture~! Genius. 🤦

I have no idea why they put trees in Outdoors (Buy Mode) and not in Exterior (Build Mode). I assumed we just didn't have trees yet. Thank god for the Search box, cuz this was Where's Waldo for sure. And we have GROWING Plants that grow over time too!?

Trust and believe I immediately selected the Bonsai plant, LOL.

But there are nowhere near enough tall potted plants--I hate that the tallest plant barely reaches door-height, and it's sparse AF, when I just want lush bursts of greenery in those lonely corners:

And FAR more potted plants for surfaces--why can't I put these tiny AF plants on a table surface? Why would I ever want a bouquet of roses on the floor? 🤨 Again, MOO > ALT every time.

Also, we DEFINITELY need a Collection file ability, or a Favorites ability, or something to tag items we want to save and remember to use. And the Household Items storage feature TS3 has, where we can store away objects we own, but don't want to place on our lot. Right now I'm just cramming the extra objects on an empty floor. (Speaking of--basements & attics: we need that ASAP.)

I am NOT a fan of the modern minimalist style of the Build/Buy objects. Esp. esp. when there's so few options.

And then Krafton SWIFTLY told me to STFU & hold their beer.

The Craft/Create Custom Furniture tool is cool! It's pretty limited though--I really wanted wall lights but it seems you can only make floor/table ones; and they REALLY need more options for the beds cuz there really isn't anything there. But I made a handful of pretty custom objects that look amazing, this feature is just wow, modular furniture taken to a whole new level, EA could never.

Functional vacuums & brooms & mops in the basegame without wasting money on broken Bust the Dust Kits, EA would NEVER!

There's also other cute things, like rail guards on windows.

You can actually draw curtains open & closed, which is incredible...but I'd like to be able to SEE the curtains, and color them and stuff, not just see the frikkin curtain rod.

4: Random AF Extra Bits

I like that we can actually toggle the Night/Day setting for Build/Buy, to see exactly what our lots will look like at different times of the day.

I also love that with lighting/lamps, changing the lightbulb color is what changes the color of the light itself; which is much easier than in TS3's pie menu. The only issue is that it's harder to tell that the lightbulb does anything unless you toggle the Night setting, to see the colors better; I gasped out loud when I changed the time and realized that lightbulb colors actually MATTER at night.

Apparently there's no terrain tools in the Beta--no ponds, pools, etc--but we DO see the icons for them, so obvs it must be a feature coming eventually.

I wish it was possible to change the Setting Options in Build Mode. I didn't realize that the "Background Noise" sound setting was actually the in-game music, like wtf? So I was stuck playing the game with inZOI's music looping in my ear for HOURS before I just Googled how to shut it off. Annoying, but small enough to be super irritating.

TL;DR: Build Buy 7/10

So yeah, this is just all of my initial impressions just mucking around in Build/Buy Mode; I haven't even PLAYED the frikkin game yet or tested anything in Live Mode. 🤦That'll be Part 2.

But so far I'm...satisfied. 7/10!

I managed to recreate Magnus Bane's Penthouse pretty darn close to how I got it in TS3 (with all the EPs & Store Content, and an effton of 3rd Party CC & mods). So inZOI's base game Beta being able to get me most of the way there all on its own is actually REALLY commendable, they definitely impressed me. 👏👍

But there's just far too much Krafton really skimmed on, that irritates the absolute mess out of me.

But I also have a gut feeling that Live Mode is gonna be CRAZY--I can't wait to play with the functional items.

Zoi Creator

The Zoi creator is pretty much the same from the Demo (x x), which is actually frustrating. Where are the improvements? 🤔 There are obvs more options, and I like the clothes categories (School, Party, etc), but I already said that I wasn't a fan of the super modern aesthetic for the clothes, and it just feels like more of the same. The shoes are still my least favorite, hella boring. And we still can't layer accessories & makeup, or have tattoos (the limited face/neck options are hidden away why?). Why can zois only wear 1 ring on 1 hand? This is 2025, and you're still making the same mistakes TS3 made 16 years ago, when TS4 at least lets you wear accs on both hands. I want my zois BLINGED UP. 😩

(Yes, my graphics settings are all on Low; I can't afford anther new pc if inZOI makes this one internally combust, stfu.)

[tumble-witch]

TW light suggestion of body horror. No descriptions though!

Creatomachia

Bunnix shows up in Marinette's bedroom when it's already dark outside.

Marinette knows what the older heroine is about to ask the second she hears the burrow open. When Bunnix greets her, Marinette is hyperventilating. Instead of exchanging pleasantries, she asks:

- Is it... him again?

Bunnix has a grim expression on her face, yet shakes her head. Marinette exhales. She has another question.

- Is it something I did?

- No. I'm sorry I'm asking this from you again. I'm sorry there will be no answers yet.

- It's okay. I am ready.

At first Ladybug thinks she is on another planet. Another dimension, even. There are cloud fractals in the sky. There is a street light growing out of another one, growing out of another one, growing out of another one... Trees are huge and have so many leaves they are almost a solid green mass. Some buildings are so tall they go way past the clouds in a curvy line. It reminds her of the Jack and the Beanstalk fairytale her mom used to read her before bed.

The roads branch out like blood vessels, getting smaller with each separation, ending in dead ends near the buildings or growing vertically on top of the walls.

The whole city almost looks like it could move at any second. It almost looks alive.

As Ladybug progresses through the streets (if she can even call them that), she finally realizes where the people are.

At least, what's left of them.

Infinite growth apparently works on humans, too. She never thought she'd be so thankful to see somebody not move.

The silence makes her ears ring. Everything is quiet, except for some mechanical sounds the structures make, not really meant to support their own weight in this new form.

Then, she hears laughter.

A girl with hair so long she's not sure where it ends is frantically pacing around the roof, her body movements jittery and odd. As the camera of the heroine's yo-yo focuses on the akuma, helping seek out where the cursed butterfly is hiding, Ladybug realizes the dress this girl is wearing is not grey.

It's is covered in trillions of colourful tiny dots of different shapes and sizes. They seem jittery too, as if trying to move, but some force is making them stay together. This feels like standing up after lying down for too long. Looking at the pattern for too long makes her head hurt

Ladybug continues hiding. She takes her time looking for clues. At this point she's not really sure if the girl is actually laughing or this is a weird hysterical cry. Sometimes the akuma starts muttering under her nose, too quiet to make out most of the words. Ladybug is pretty sure she heard the girl say "I can fix this" a few times though. She shifts to hear the words better.

The akuma turns around

This is the hardest she's ever fought. Chat Blanc feels like child's play now.

While the villain almost looks out of breath, long hair going everywhere, Ladybug is still barely able to keep up.

The air is too dense with oxygen.

The girl has a yo-yo as a weapon, in a cruel twist of irony. And she's damn good with it. Yet, she clearly hesitates in using the thing, saving it as a last resort to escape.

Ladybug tries to reason with the akumatized victim.

- Wait! Please, let me help you!

- You don't understand, - the girl looks around frantically, - I have to fix this! I need to fix this!

Villain's grey yo-yo starts to glow white and she throws it at a fire hydrant, making it grow another one on top.

The akuma was inside the earring. Ladybug was hit by the yo-yo. She doesn't have the time to think as she casts Miraculous cure, just before her brain registered the pain fully.

She'll remember the way it looked when she closes her eyes though.

The streets go back to normal. Her body is normal. Ladybug turns around and meets the eyes of

herself

Marinette sits on the ground, horrified. But before Ladybug can talk to her Bunnix appears and she has to go.

Bunnix doesn't say anything as they walk through the burrow, but she's pretty sure the older heroine is holding her shoulder softer than ever before.

They didn't change anything. They didn't fix anything after they came back, no scoldings, no erasing her name from anywhere, nothing. Marinette is growing more paranoid at every turn, expecting to get akumatized. Her conflict avoidance is at all times high. She's withdrawing from her friends.

Nobody is near when Hawkmoth himself shows up in the middle of the night and she has to transform. He senses her distress immediately.

This is just too easy.

The butterfly lands in her earring just as she started to call for a last effort Lucky Charm.

"Creatomachia, this is Hawkmoth. You are overwhelmed with every problem creating a million smaller ones. Things seem to stack on top of each other and just never end. I'll give you the power to fix everything. In return, you will give me your and Chat Noir's miraculous."

For a split second, everything is white.

[chosaraki]

The Bride of Needles

—————————————————————————

Yujae Seon x R.femele.

—————————————————————————

Y/N inspired by Trafalgar Law

—————————————————————————

(Location: Hidden Incheon - Dark Faction Underground Base)

The sound of footsteps echoed with clinical precision through the corridor illuminated in blue. The cold glow of the lights reflected on the concrete walls like scalpels pointed at the soul. He was on his back, with his hands crossed behind his body - the silhouette of Yujae Seon, the King of Incheon, as motionless as a statue carved by centuries of control.

Next to it, the pneumatic steel door opened smoothly.

- You're late. - his voice sounded calm, but each syllable carried the same pressure as a poisoned pulse.

(Y/n) came in with the medical coat still stained with blood - not hers, of course. Under him, part of the black tattoos that covered his fingers, wrists and part of his lap escaped like sacred inscriptions hidden under the skin. A tribal pattern , but redesigned with oriental traits and symbols of ancient Korean medicine.

- You were saving your best infiltrator - she replied, cold, as if the world around her didn't disturb her. - He had an exposed fracture and bleeding in the spleen. I decided it was worth keeping him breathing.

Yujae turned slowly. His half-closed eyes examined her as if he were looking at a treaty of war, not at the woman he would marry in less than 30 days.

- You didn't save him for me. Saved because you hate leaving an imperfect body behind.

She gave a slight smile, without denying it. It was true.

Approaching him, (y/n) pulled the black rubber gloves with precision, revealing the fingers tattooed with stylized letters that composed old words of protection and healing. She stared at him - the only person in the Dark Faction who could look him in the eye without blinking.

- I can cure you, Yujae. But you need to let something in you get sill first.

He remained silent. Her words did not irritate him; on the contrary, they instigated him. She was a sharp knife made to cut her own armor.

Yujae, without saying a word, took a pocket square and cleaned a blood stain that flowed from her jaw.

- The other kings don't have brides like you - he murmured. - That weakens them.

(Y/n) took his hand and put it on his own neck, showing him the firm pulse.

- And are you sure you want a bride with hands that know how to open throats and suture arteries?

- I don't want a flower - he replied. - I want a blade.

—————————

— Flashback: When they met

Two years earlier, (y/n) worked as a clandestine surgeon in Busan, where she treated faction members in exchange for rare pieces and old medical grimoires. One of her patients tried to betray her - and ended up anesthetized with liquid ketamine and delivered to the enemies with the intestine sewn in zigzag as a warning.

Yujae heard about it. He looked for her personally, not to hire her, but to test her.

She received him with a cold metal table, clean scalpels and eyes that did not bow even to a king.

- If you want a treaty, sit down. If you want to kill me, bring something more beautiful than your ego.

Yujae laughed for the first time in years.

————

She mastered a technique called reverse neuroblock, which temporarily paralyzed an opponent's limbs through fine insertions at specific points of the nervous system - something between lethal acupuncture and manipulation of brain signals. Few knew how it worked. Many died before counting.

In the battle of Sinseongho, she paralyzed Jaegyeon Na for eight seconds. This saved Yujae's life.

———————————

— Engagement gift

Yujae didn't give him a ring.

He gave him a pair of custom-made surgical gloves with graphene thread and dark gold stitching, with the Dark Faction coat of arms engraved on the inside. The initials of both were on the left fist: Y.S. & (y/n).

She never used it. He just kept it - and answered with a new tattoo under his chin: a dark vertical line, symbolizing "silent honor". He noticed, but didn't comment.

———————————

On a rainy night, he found her watching the tombs of the men she failed to save.

- Do you still carry them all? - he asked, standing in the rain.

- Not all of them. Only those who shouted "help me" in silence.

He took off his coat and put it on his shoulders.

Not out of compassion.

But because only she knew where it hurt.

And because he wouldn't allow the world to take her before the wedding.

————————————

(Location: Private suite in Incheon, night after a bloody negotiation between factions)

The low light of the suite filtered through the heavy curtains, projecting long shadows that swayed on the walls as if whispering ancient secrets. The metallic smell of blood had already been washed from her hands. But the tension... this one remained in the bones.

Yujae Seon was sitting in a dark leather armchair, shirt ajar, loose hair falling over her half-closed eyes. He watched (y/n) standing in front of him - wearing only the wine satin robe that he himself had left for her earlier. The fabric barely covered the tattoos that went down the neck, collarbone and wrists, like marks of an ancient lineage. His body was symmetrical, silently lethal.

- Was the mission cleaned? - he asked, his voice hoarse, dragged, grave.

She nodded.

- The wound on the left arm was still bleeding. I sewed with black line. I didn't leave traces.

She approached. The robe slid slightly, revealing the circular mark tattooed below the breast, like an anchor between nerve and desire.

- Did you sew without anesthesia? - he murmured, already knowing the answer.

She stopped in front of him.

- I felt everything. I wanted to remember.

Yujae looked up and his fingers went up to the bar of the robe. He didn't undress her. He just passed his thumb over the skin where the pelvis bone protruded, slowly, like someone who studies an ancient wound that only he can open.

- And do you want to remember me... the same way?

She bent down, riding on him with clinical control, firm knees on the sides of the chair. The eyes of both collided in the middle of the silence. He touched her as if analyzing, and she mounted him like someone who operates - with coldness, precision... but hunger.

When their lips met, there was no urgency. It was a cold war of wills. His kisses were slow, deep, as if he wanted to extract every beat from her heart with his tongue. His hands explored her back like a war map, and hers ran over his scars as if they were escape routes that she knew by heart.

Yujae pushed the robe, letting it fall on her arms, completely revealing the tribal tattoos that crossed her breasts and flowed down her ribs.

- You're made of symbols. - he whispered against her collarbone, biting slowly.

- And you're made of steel. - she replied, gasping. - But I know how to bend steel when it's hot enough.

He lifted her in his arms with silent brutality, taking her to the mirrored wall of the room. He pressed her there, naked against her marked body, the breaths mixing, the tension turning into friction and pulsating desire. He penetrated her right there, without words, only with the exact strength of those who don't need to ask - and from whom she chose not to deny.

She wrapped her legs around his waist, and the nails left marks on his shoulders like traces of an ancestral signature.

With each attack, she looked him in the eyes, as if she challenged him to go deeper, to break that cursed serenity. And he, with his teeth stuck in his shoulder, finally let out the first low, serious moan, stuck for months in his throat.

Hours later, still intertwined, the palm of her hand rested on his chest - feeling not only the heart, but the weight that no one else touched.

- You don't need anesthesia with me. - she murmured.

- With you, I want to feel everything. - he replied.

———————————

— On your honeymoon wedding night

The air was dense, impregnated with the metallic smell of dried blood mixed with black amber incense. There was silence, except for the sound of the zipper being lowered with surgical slowness. She was kneeling in front of him, wearing only black gloves up to the elbow, exposed tattoos and dilated pupils - like a goddess made to open bodies and corrupt wills.

Yujae Seon, sitting with her legs apart, watched her every movement as if studying a vivisection technique. He didn't smile. I didn't ask. I just allowed it. Her control was absolute... until she touched.

Her fingers passed through the inside of his thighs, with clinical precision, without haste.

- I need to open you up, Yujae... inside.

Her voice was low, soaked in controlled lust.

- Are you willing to let me see what no one else sees?

He didn't answer. But his erection under the black pants was already pulsating in response. She released her with a dry pull, and her eyes rose like scalpels in riste.

She licked him as if tracing a cut line with a hot tongue - from the base to the glans - then swallowed, slowly, millimeter, until his eyes closed for a second. Only one. But she saw it. And that was victory.

- Breathe - she murmured against him, before sinking more intensely.

His hands closed on the arms of the armchair, but he didn't touch her. Not yet.

She wanted to break the domain. He wanted the man, not just the king.

And you did it.

He pulled her by the hair, tilting her head back, the eyes of both stuck like blades about to collide. He got up, lifting her by the hips as if she were light - the only light thing in that world of violence. He laid her against the stainless steel table. The metallic sound echoed in the room as the beginning of a forbidden ritual.

Without warning, he entered her with brute force, and she gasped loudly, hands grabbing the icy metal from the table.

- Did you want to open me up? - he murmured at the foot of his ear. - Now you'll feel what's in here.

The attacks were fast, deep, wet, without containment. He fucked her as if he extracted from her a poison that only she carried.

With each lunge, she moaned louder - and the sound of the skin hitting against skin filled the space like a tribal beat.

He turned her on her back, one hand on the back of her neck and the other on her lower back. She arched, exposing the back tattoos that extended to the coccyx.

He licked them like someone who follows a map to the center of her pleasure.

- Where do you want my name tattooed? - he whispered.

- Here - she moaned, pointing between her legs. - But mark with her mouth first.

He sucked her right there, hard and deep, until she came against his tongue - trembling, squeezing her fingers in his hair, asking for more without words.

When he penetrated her again, both were wet, feverish, animalistic.

He came with a muffled growl against the back of her neck, biting, marking, as if he wanted her all inside, in each pore. They stayed there, connected, sweaty, panting.

Yujae didn't say anything. He just ran his fingers over her lips and took them to his own mouth.

She licked his fingers before.

Like someone who signs a pact.

———————

They took a shower together in silence. He washed her shoulders, and she drew the Dark Faction symbol in soap on his chest.

- You're my laboratory - she said, with a hoarse voice.

- And you're my poison of choice. - he replied.

—————————————————————————

Yujae Seon and his fiancée (y/n) - a woman with an elegant appearance, tattoos similar to those of Trafalgar Law (One Piece), sharp mind and complex medical techniques, being both a healer and a silent strategist. Their relationship is intense, silent and full of implicit tension.

An intimate, sensual and erotic moment, with refined setting and mature language, centered on Yujae Seon and his fiancée (y/n). The tone is adult, elegant and loaded with emotional and physical tension, without gratuitous vulgarity - faithful to Yujae's restrained, strategic and dominant personality, and to the magnetic, cold and precise presence of (y/n).

—————————————————————————

[k-hippie]

MAY : SIMS 3 & SIMS 4 : WHAT'S COMING UP :)

Let's begin with the Sims 4 ... April has been a bit disappointing I suppose, even we worked hard on numerous projects.

First, a flash and silent update for the Vertical Impasto Artworks. A little something in the interior frame of the painting that wasn't good enough : correction has been made and you can download again :)

Almost of our time has been about the k-707 Nature Mod ;) There are great satisfactions but also big frustrations ... We probably lost more braincells that it was needed. BUT … we have 95% of those damn trees covered.

We are stuck on some trees ( 5, maybe 6 ) and we search and search and search again some informations related on vertex paint which matter a lot since both colorimetry and rustle are enclosed in it. But we are still unable to extract the maxis information into the leaves and so, modify the trees from the deep in a way that is still ok for the game ...

Release a tree or a plant of 30k polygons only for the glitch and the fame is not at all our style. What is beautiful is not always suitable ;) and sometimes, what it seems to be beautiful in a picture is not not at all inside our favorite games :D

But let's talk about the Sims 3 now :) and more pleasant news ! At first, the big news : a NEW S3 WORLD is coming :) soon soon soon !

Shetland Harbour ... An island turned to the sea but filled with sheep. A good place to have whatever life you want for your lovely ( or not ) Sims ;) Shetland Harbour is a fishing town of course but not only. There's a true downtown and lot of places. And sheeps. A medium/large world, the first island we create since Lost Cove.

And for the first time, it won't be based on an EA known world ;)

But we'll talk much more about it in the coming weeks ;)

Then, will come quite quickly 3 Worlds UPDATES with significant changes inside, and various fixes that were long overdue :) Also, all community lots and some residential will be released too.

Oaksoak Hollow - Eureka Valley - Lost Cove

All 3 will come with their ANTS, CC, and Lots in separate folders ...

In addition, we are AT LAST working on some Sims 3 stuff and conversions, mainly build stuff and artworks ( for now ) :) 88 Patterns will be released quite soon, as soon as updates will be made on our website ( tech-hippie.com/sims3-lounge/ ) by my co-team partner :)

The Dark Terracotta roof and the Wood Skandi walls ( in both .sims3pack and .package ) will be released with Shetland Harbour.

That's it, that's all and that's a lot of work :D Happy May everyone !

xoxo

\o/ blackgryffin

...

[estera-shirin]

Goblet, Iran ca. early 4th century BCE

Via the Met: "This goblet comes from a site near Kashan called Tepe Sialk. Excavations conducted at the site in 1933, 1934, and 1937 uncovered large amounts of prehistoric pottery which have provided important evidence for the early chronology of the central Iranian plateau. Like much of the pottery from Iran in the Chalcolithic Period (ca. 5500-3000 B.C.), this piece is very skillfully made, with thin walls and a crisply formed, symmetrical profile. It was likely created or finished using a tournette, the precursor to the potter’s wheel, which is a flat disc balanced on a central pivot that can be spun with one hand while the other hand is used to smooth and shape a pot in the center of the wheel. The designs painted in dark brown against the buff-colored ceramic work in harmony with the shape of the goblet. Large, widely spaced dotted lines fan out vertically across the foot, below a horizontal band. Another thick band encircles the widest point of the vessel, above which rows of comb-like horizontal lines or wavy vertical lines rise to cover the outside surface, topped by three narrower bands above which a row of bent-legged waterbirds proceeds in single file to the right, filling the space of the slightly flaring lip. The combination of stylized animals, especially birds and ibexes, with geometric patterns is typical of the fine pottery from this period at Tepe Sialk. This vessel was probably used for drinking, and the elaborate decoration brings into question whether it was intended to serve as utilitarian tableware, or for use on special occasions including rituals."

[marionandinteriordesign]

WW Wallpapers- a tutorial

I LOVE the WW Furnishing mod and I especially love its wallpapers, and I've been thinking about making a tutorial for a while, but now that I have officially been enabled (thank you @dru-plays-starbound) I sat down this morning to finally make one.

This is Marion. Marion is standing in a criminal's old hideout that has been mostly gutted and had its lighting replaced. This room alone should be a good size space to play around in.

But of course this still has its old wall, so step 1 is to remove it and start with a hollow shell. Unfortunately Marion could not stop the relentless passage of time and now night has fallen.

You know at this point I really regretted choosing a structure on a planet whose parallax is a bunch of vertical lines which is THE go-to wallpaper pattern. Nonetheless we shall sally forth.

Have some wallpaper rainbows.

These are the solid colors. There's a corresponding Solid I Wallpaper to that first borderless solid, but I left that one out because this one shows all the colors you can turn it to and solid 1 is just an unassuming gray square, and full disclosure I have so many interiors to update because the solid and bordered wallpapers together are jarring and I hate it. That first one is for the vanilla colors, and the other solids have the modded colors.

"solid wallpaper, borderless solid wallpaper, what does that mean" Well, the borderless wallpapers are exactly that. These are good for the back walls, and the bordered wallpapers are your side walls.

If you look close enough at those blocks of half rainbows, you can see that from top to bottom, these colors are all arranged in the order of your matter manipulator's paint tool Cycle to that color, get that wallpaper's color. Be prepared for an intimate relationship with the paint tool, especially as we go further into this.

Okay it's morning. Let's look at the wallpapers.

Here are those solid colors along with modded versions of the classic and striped wallpapers in vanilla Starbound. Don't be deceived by their default grayness--these will give you more vibrant versions of those wallpapers. I didn't cover this because we all probably know the vanilla wallpapers are ass, but to test this for yourself go put up some classic vanilla wallpaper and go to town with the paint tool. You'll see that the colors are depressingly faded.

Look at all those pretty colors. Modded starbound is the best. What you see is exactly what you get, but those other blocks are gonna have you painting a wall pink with green.

Also the teleporter is offscreen to the left and Marion has had to turn into a spike sphere to get past that wall. Let's get rid of these.

That's better. And here's just a few of those modded colors on the other solid blocks. Thankfully Solid II wallpaper has a lot of similar colors to the modded borderless solid.

Let's talk about those modded wallpapers a little bit.

See what I mean? That pink color takes the place of green in the paint tool's color order, but rest assured this is how Marion painted that borderless pillar. That will allow us to use some of those modded wallpapers, like this.

This is just one example, and those lace wallpapers are borderless. Some patterned wallpapers have borders, and that includes our modded versions of the vanilla wallpapers from earlier. But that specific solid in that specific color is the only reason this works. Marion, could you slap a bunch of solids around a patterned wallpaper and paint it all green please?

Thank you. Always know which solid wallpaper you're using. Unless you want this. I'm not gonna judge.

Now let's get into some proper wallpapering. Marion, tear that all down and put up a solid color. Any color, any wallpaper.

Okay, default solid 2 it is. Also I can't help but notice you've been eating on the job. That is an entire chocolate cake under your arm.

Also it's nighttime but we won't have gaping holes in this building for much longer. Let's keep going!

Wow, look at all that pink. This is nice, but what if you don't want a huge wall of pepto bismol?

You could always paint some stripes. But we didn't do our math here, so that last purple stripe is an extra block wide. Might want to choose a smaller stripe pattern. Like i said, be prepared for an intimate relationship with the paint tool. Including the eraser at the end.

In the meantime, let's see those bordered wallpapers and borderless wallpapers together in action. Marion, knock out the walls again. Yeah, knock out one of those iron block walls too.

Looking good, but this is still a little boring. Let's add some baseboard trim.

That's better. Also we're almost out of this kind of wallpaper so we just shaved off like 12 blocks.

But why stop at trim on the bottom when you could put trim...

...on TOP?

There's a ton of vanilla blocks I would recommend for trims, but we only packed a few. But what if you still don't like that solid red?

There's that smaller pattern I was talking about! But the dark tones of the wood and the dark tones of the red are kind of drowning each other out. Time for a paint job!

And now the teams have been auto-balanced.

Marion you stupid slut you got levitating dirt all over the construction site and now you're breaking the walls and making the wallpaper pattern look like that thing I hate. If you put a window up there I swear to god.

Just kidding! She just needed scaffolding so she could add an even fancier trim to the top! And since we only had these starry blocks on hand we might as well paint it green. Now that's a fancy room.

But that's not all! Here's some other uses for wallpaper!

You could use wallpaper...

...for a loft!

Or a kitchen backsplash!

Or a bathroom in your loft!

You could even use it...

AS TRIM???

If those big blocks of wallpaper still bother you, consider adding wall hangings or windows.

Happy wallpapering!

[samuel-seaburys-askblog]

no lube, no protection, all night, all day, from the kitchen floor to the toilet seat, from the bathroom sink to the shower, from the front porch to the balcony, vertically, horizontally, quadratic, exponential, logarithmic, while I gasp for air, scream, and see the light, missionary, cowgirl, reverse cowgirl, doggy, backwards, sideways, upside down, on the floor, in the bed, on the couch, on a chair, being carrier, against the wall, outside, in a train, on a plane, in the car, on a motorcycle, on the back of a truck, on a trampoline, in a bounce, in the pool, in the garden, bent over, in the basement, against the window, having the most toe curling, back arching, leg shaking, dick throbbing, fist clenching, era ringing, mouth drooling, ass clenching, nose sniffing, eye watering, eye rolling, hip thrusting, earthquaking, sheet gripping, knuckles cracking, jaw dropping, hair pulling, teeth jitterbug, mind blogging, soul snatching, overstimulating, vile, sloppy, moan introducing heart wrenching, spine tingling, back breaking, atrocious, gushy, creamy, beastly, lip biting, gravity defying, nail biting, sweaty, feet kicking, mind blowing, body shivering, orgasmic, bone breaking, world ending, black hole creating, universe destroying, devious, scrumptious, amazing, delightful, delectable,

unbelievable, body numbing, bark worthy, can't walk, head nodding, soul evaporating, vulcano erupting, sweat rolling, voice cracking, trembling sheets soaked, hair drenched, flabbergasting, lip locking, skin peeling, eye widening, pussy popping, nail scratching, back cuts, spectacular, brain cell devolving, hair ripping, show stopping. magnificent, unique, extraordinary, splendid phenomenal, mouth foaming, heavenly, awakening.

And

Eight days a week. on the kitchen counter, on the couch, on the bed, on the bathroom counter, in the bathtub, on the living room table, on the dining table, on the doorstep, against the wall, in the closet, on his lap, on his face, in a locker, on your desk, on the floor, mattress, carpet, on the stairs, anywhere possible. No stopping, don't stop when i pass out. Continue. Continue as i gasp for air, grab the headboard, grip your hair, scratch your back, roll my eyesback, salivate, back is broken, cant walk, cant talk, legs are numb, core is swollen and dehydrated, until im absolutely devoured into a sloppy mess. Don't stop until my organs are rearranged, until my insides know the attack pattern, until i beg for mercy, until i scream your name louder than a microphone, thighs drippy, until l'm in a wheelchair, until my core is ripped apart, until i grip the sheets so hard i drive holes through them, until i need to be rushed to the hospital, until l'm broken into machsolistic slut covered from head to toe in your seed. Until you come on my face so much that my face is so mosturized I won't need skincare anymore, until he's sucked out dry, until I'm shaking so hard lt'd be considered as a siezure. Milk me raw with toys, thrust until the vibrator's battery runs out. Don't stop. No protection, impregante me with your heirs, until I rip. Make me crawl away for mercy. Those thrusts will bring tears to my eyes, but my face will never be as wet compared to down there. I'd willingly give him the most eye rolling, hip thrusting, toe curling, squriming, jaw dropping, sheet clenching, hair pulling, sloppy, creamy, head nodding, trembling, sweaty, lip licking, groaning, eye widening, back arching, addictive, shoving, wet head. I'd do it whether he asked or not. Feel my stomach to see how far you're in me, grip my breasts and suckle on them, watch me touch myself while groaning your name in the bathroom at night. Shove that dick down till my throat memorizes every vein.

||WARNING..|| (Okay this is a bit much...--mod)

[sngl-led-auto-lights]

How do you change a headlight?

Changing a headlight bulb varies slightly depending on your vehicle’s make and model, but the general process is straightforward. Below is a step-by-step guide for most modern cars (halogen bulbs). If you have LED or HID headlights, consult your owner’s manual, as they may require professional service.

Tools Needed

Replacement bulb (check your owner’s manual or auto parts store for the correct type).

Gloves (to avoid touching the bulb glass with bare hands).

Screwdriver or socket set (if required).

Clean microfiber cloth (optional).

Step-by-Step Guide

1. Park Safely and Prep

Turn off the engine and headlights.

Let the bulbs cool for 10 minutes if they were recently on.

Open the hood and locate the headlight assembly.

2. Access the Bulb

Behind the headlight: Most cars allow access via the engine bay. Remove any dust covers or clips securing the bulb.

From the wheel well: Some vehicles (e.g., certain Hondas) require removing the wheel liner or fender clips.

From under the hood: Look for a wiring harness connected to the rear of the headlight assembly.

3. Disconnect the Wiring Harness

Unplug the electrical connector by pressing the release tab and pulling it straight out.

4. Remove the Old Bulb

Twist the bulb holder counterclockwise (usually ¼ turn) to unlock it.

Gently pull the bulb straight out. Avoid shaking or twisting the bulb itself.

5. Install the New Bulb

Do not touch the glass with bare hands (oils from skin can shorten bulb life). Use gloves or a cloth.

Align the tabs on the new bulb with the slots in the headlight assembly.

Insert the bulb, then twist clockwise to lock it into place.

6. Reconnect and Test

Plug the wiring harness back in.

Turn on the headlights to test the new bulb.

If it doesn’t work, recheck connections or test the fuse.

7. Reassemble

Replace any dust covers, clips, or screws you removed.

Close the hood.

Key Tips

Buy the correct bulb: Use your car’s VIN or owner’s manual to confirm bulb type (e.g., H7, 9005).

Replace in pairs: If one bulb burns out, the other is likely close behind.

Adjust alignment: If the beam pattern seems off, use a wall at night to check alignment (vertical cutoff should be level).

Common Mistakes to Avoid

Touching the bulb: Oils from skin cause hotspots and premature failure.

Forcing components: If something won’t budge, double-check for hidden screws/clips.

Ignoring condensation: If moisture is inside the headlight, dry it and reseal the housing.

When to Call a Pro

If your car has LED or HID bulbs (often require specialized tools).

If the headlight assembly is sealed (common in older cars), requiring full replacement.

Cost:

Bulb: $10–$50 (halogen) / $50–$200+ (LED/HID).

Labor at a shop: $20–$100.

With patience, most drivers can handle this in 10–20 minutes! 🔧💡

[zombiecicada]

Running program and loading document.

Security bypassed.

Upload complete!

Document of specimen designated ‘Subject #42’

Case Number: 19.15.21.12

Date: REDACTED

———————————————————————

———————————————————————

1: Subject #42’s Eyes

Subject #42 has large forward facing eyes, its pupils can easily expand and shrink to account for glare or near total darkness. The sclera of the eyes are vibrant yellow. This was later concluded to be due to having high levels of some bilirubin adjacent chemicals within the body.

Originally, it was assumed Subject #42 was suffering from liver failure, but further examination and blood tests revealed such was far from the truth. Whereas that much bilirubin in a red blood celled organism would be a sign of toxicity, because Subject #42 does not have red iron based blood, these high levels of bilirubin do not strip away or break down the blood cells. Instead of causing toxicity, it’s a natural antioxidant.

Subject #42’s eyes appear to have entered a near constant state of myosis, even in low lighting.

———————————————————————

2: Subject #42’s wings

Subject #42 has broad webbed wings that suggest an adaptation for long periods of non stop flight over vast distances.

Such an hypothesis was confirmed reviewing the observation notes of Subject #42 traveling vast distances prior to its capture. Subject #42��s wings were bound with cold iron cuffs shortly after its capture. While Subject #42 later outsmarted the attempts to restrict its ability to fly by simply using its abilities to levitate, the cuffs serve as a successful means to stop it from phasing through the walls of its containment unit.

The second finger of Subject #42’s wings are covered in small, aged scars along the whole length of the limb. The patterns and depth of the scars are consistent with wounds received from scraping against rocks and deflecting debris with the limbs. Subject #42 will swing its talons around like weapons with remarkable precision.

———————————————————————

3: Subject #42’s teeth and mouth

Armed with impressively developed canine teeth and a pointed, papillae covered tongue, Subject #42’s diet is primarily that of a hypercarnivore.

This has lead Doctor Cruce to hypothesize that Subject #42 might have been following the armed forces to feed on the bodies of the casualties produced by the conflict. Subject #42 does share some characteristics of scavengers, such as strong jaws and sharp teeth, but the metabolic cost of traveling such far distances, alongside its abilities, claws and the sword it was found wielding suggests that Subject #42 would likely or primarily have hunted opposed to scavenged. And yet, there was no reports of Subject #42 hunting anything prior to its capture.

The blue colouration comes from the subject’s blue blood, being copper based instead of iron based and highly oxygen efficient. An endurance test concluded Subject #42 can go almost four hours without breathing, suggesting Subject #42 comes from a low oxygen environment where it pays to be able to make the most of the little oxygen available. However, it seems to be perfectly fine in environments of standard 21% oxygen levels.

———————————————————————

4: Subject #42’s paws and forelimbs

Everything about Subject #42’s paws and forelimbs suggests it is a highly efficient climber. It has tough palms, strong claws for grip, an abundance of collagen within its body, and well developed tendons and ligaments.

A test concluded that with ease it can swiftly scale up vertical walls, alongside being highly oxygen efficient, it does not tire easily, leading Doctor Cruce to suggest Subject #42 might’ve evolved in a rocky, mountainous environment.

———————————————————————

5: Subject #42’s standard vision

A vision test conducted on Subject #42 determined it has remarkably clear long distance vision, able to spot small movements and small details from over several hundred feet of distance.

It can see a wide range of colours and in various levels of lighting.

Interestingly enough, it is badly nearsighted, seeming to have put all its points towards seeing very far instead of close up.

When Subject #42’s powers are activated, its eyes go fully lavender in colour and light up in a bioluminescent display.

—————————————————————————————————————

6: Subject #42’s ‘soul vision’

Finally approaching Subject #42’s bizarrely dare say otherworldly powers, hooking up various scanners and devices to Subject #42 to scan its brain Doctor Cruce discovered Subject #42 has an ‘alternate vision’ that she’s come to dub ‘soul vision’. When activated, Subject #42’s retinas stop perceiving light entirely, instead seeing a vast spectrum of the electromagnetic wave length that shows up to Subject #42 in various ‘colours’ and shapes.

While it took a bit of trial and error, it was discovered that people who have what’s been commonly dubbed a ‘soul’ will show up to this alternate vision as a figure with white eyes. Anything without a soul, be it people or objects, will be entirely invisible to Subject #42 during this time. It seems to be able to toggle back and forth between these two modes of vision at will.

Currently, it is unknown if the ‘colours’ that show up have different meanings. Subject #42 continues to show no ability and or interest in answering any questions that are asked of it.

—————————————————————————————————————

7: Further manifestations of Subject #42’s ‘soul magic’

Subject #42 is highly proficient in the use of its magic. It appears capable of instantly and immediately telling if something with a soul approaches it, even through walls and when its vision is restricted, suggesting the soul vision might be able to see through solid objects and see a remarkable distance away.

Alternatively, it may just be a sense that Subject #42 has passively.

When focused, this soul magic can form highly energetic lasers (resulting in biweekly maintenance required to Subject #42’s containment unit), an energy field around itself, and various other high energy attacks.

Subject #42 has a large quantity of energy within it, which it appears to get by steadily absorbing the lifeforce of everything around it.

Subject #42 has a large quantity of energy within it, which it appears to get by steadily absorbing the lifeforce of everything around it.

While it initially caused concern and almost led to the immediate order to terminate Subject #42, Doctor Cruce confirmed at the time that Subject #42 does not appear capable of doing this to such an extent that it would cause death or noticeable symptoms, quote ‘it's not taking from you anymore than the rate of you already naturally dying’. This statement was later retracted when, during a test, Subject #42 killed a test subject by simply touching it, examination to the body shows no wounds or signs of bodily trauma. It appears that Subject #42 instantly killed the fellow subject by removing its life force.

Doctor Cruce now believes that Subject #42 can indeed at any time rapidly and fatally absorb the life force of another being, but must come in contact with it first. For safety precautions, and yet another complaint from maintenance, Subject #42 was later moved to be held in stasis.

Up until that point Subject #42 had simply been very aloof and standoffish, during its final moments before being put in stasis it seemed to enter a state of hysteria, repeatedly calling out for something or someone.

—————————————————————————————————————

There are still many unanswered questions regarding Subject #42, such as the unnatural origins of its abilities and its origins in general.

Doctor Cruce’s conclusion is that it would benefit Nightmare Enterprises to make demonbeasts using Subject #42’s DNA.

However, she stressed a high deal of caution and time to conduct further research before proceeding with any attempts to make new monsters.

Subject #42’s highly unpredictable nature and abilities could lead to the creation of a monster far worse than it that could be impossible to contain that could become an unimaginable threat to the company, especially if it escaped and got into the wrong hands.

(END OF LOG)

[beautiful-raging-attorney-at-law]

In Which Howl's "Old Mother" Meets his Own Mother

Howl and Sophie made it halfway up the garden path when the door opened, revealing a plump middle aged woman dressed in a long, floral dress. She smiled at Mary, who had hugged her, yelling, "grandma!"

The lady picked Mary up and balanced her on her hip, then looked up to greet Howl and Sophie, who had made their way to the front door. She smiled.

"Howell, it's good to see you. Please, come in." She backed into the hall, still carrying Mary, as Howl pulled Sophie inside.

Sophie looked at Howl's mother, surprised. She was surprisingly young. Nowhere near the ninety years Sophie had claimed when pretending to be her. She looked just like Megan, with the same sharpness in her blue eyes. Sophie estimated she had to be in her fifties, and she carried herself with an air of intelligence and pride.

Howl led Sophie down the hall, and they followed his mother into a sitting room, where a man--presumably Howl's father--was already seated reading a newspaper. He looked up when they came in.

"Grandda!" yelled Mary, fidgeting until Howl's mother set her down, and she raced over to hug her grandfather. Sophie was glad for Mary's presence. While the attention was focused on their reunion, she had time to gather herself and take in her surroundings.

The sitting room walls were covered in paper with long, thin, blue vertical stripes. At the top of the walls was a border with a flowery pastel pattern.

The stiff-looking sofa and love seat were upholstered in fabric with the same floral pattern. A wooden rocking chair sat in the corner, and a sturdy wooden coffee table completed the room.

The walls were covered in pictures of Megan and her family, and a few of a very young-looking Howl. They looked clear and very crisp. She had never seen a painting like it. She moved towards a picture of Howl in his early childhood. He had tidy black hair, and his brilliant green eyes shone mischeviously. He was wearing a funny suit with a tie beneath his chin. She could see a slight resemblance to his nephew, Neil, and an even slighter resemblance to the man on the couch.

"Howell's 6th form yearbook photo," his mother said. Wondering what a 'yearbook' was, Sophie turned around, having forgotten for a moment where she was.

The woman gestured for Sophie to take a seat, which she did tenderly on the edge of the loveseat. Howl took the rocking chair, closing his eyes and rocking briskly. After a moment, Mary chose to break the silence.

"Grandma, did you know Uncle Howell has found himself an English lady?" She said, pointing at Sophie. That word again. Sophie looked pleadingly at Howl.

"Howell, dear, are you going to introduce your guest?" said the man. He looked friendly but directly at his son. Howell slowed his rocking and opened his eyes.

"Mum, dad, please meet my fiancee, Sophie Hatter. Sophie, this is my mother, Cariad, and my father, Morgan. Jenkins." he added, unnecessarily.

Sophie, already sitting down, attempted a curtsy, then changed her mind halfway through and forced a smile instead; first, pointed at Cariad, second to Morgan.

"Please, call us Mr. and Mrs. Jenkins. I'm quite surprised to meet you, Howell has never shown any attention to a lady as, uh, worthy as you," said Mrs. Jenkins. Sophie got the impression that Megan's sternness was nothing compared to Cariad Jenkins's.

Sophie cast her mind back to what Howl had said at dinner.

"Pleased to meet you. Howl and I met completely by accident. I had come to his--" "CASTLE!" Mary interjected. Sophie smiled gratefully at Mary. Trust a child to break any tension.

"I had come to his castle, that is, his office at the university. He invited me for supper and we grew to like each other very much." Sophie noticed Howl nodding absently, as if he approved of her story.

"And what do you do?" Mrs. Jenkins asked.

"I'm a florist," Sophie said, using Howl's language, "and I do some sewing in my spare time."

Mrs. Jenkins continued the interrogation, "and where are you from? I wasn't even aware Howell was living outside of Wales." At this, Sophie panicked. She was apparently supposed to be from a land called England, and she was not sure what she was meant to stay. Luckily, Howl picked up on her hesitation.

"The same place as the university, actually. I had the chance to become friendly with her mother and sisters while we were there." He glanced back at Sophie, who found she had been clutching her skirt in hard fists. She relaxed, and Howl nodded again.

"And what do you think of our Howell? He hasn't been living up to his potential, wandering around the Isles as he does, looking for charms and spells"--Sophie could hear the emphasis and contempt in Mrs. Jenkins's voice--and rhomping about in his old school jacket and making unprincipled friends. We thought he'd never amount to much once he shared what his PhD was in. And now he seems to have landed a nice lady like you. Has he hoodwinked you?" Mrs. Jenkins asked, and Sophie could see that Megan's demeanor paled in comparison with her mother's.

Sophie thought quickly, but Howl interrupted.

"I'd say it was the other way 'round. Sophie came into my office and turned everything topsy turvy. Then she made it clear she intended to stay in my life awhile, and one day I caught her tidying my office and uncovering all of my faults while still refusing to leave."

Sophie blushed as both Mr. and Mrs. Jenkins looked at her with a curious gleam in their eyes.

--

The evening went on without much trouble, but Sophie was grateful when Howl stood up and said, "I promised Megan I'd have Mary back before bedtime. Come along, Mary, Sophie, we must be off. It was a pleasure mum. Good to see you, dad." He swept Mary up in his arms and held his other hand out to Sophie, leading them down the hall.

"You'll be settling down back here, in Wales, yes?" said Mrs. Jenkins as they had started down the garden lane.

Howl called over his shoulder, "We have yet to see!" and the door closed when it was clear he would say no more.

The ride back to Rivendell was quiet. Mary had fallen asleep, leaning against Sophie, who still sat with her eyes closed. Howl drove carefully, glancing in his mirrors every so often to get a glimpse of Sophie.

Once they had dropped Mary off at home, he grabbed Sophie's elbow and steered her to the door to the moving castle. They pushed through the inch of nothingness and emerged in the familar room of the castle. Sophie sighed, and said to Howl, "Now I know why you are so fond of slithering out. Your family is exhausting."

Howl laughed, ruefully. "You have no idea."

[khronysus]

Spiralling Hallway

Item #: SCP-11120

Object Class: Thaumiel(1) Keter

Special Containment Procedures: All methods of communication are to be monitored for any reports of SCP-11120 and related entities. Posts online related to SCP-11120 are to be taken down immediately. Reports to ███ ██████ ██████ describing interactions with SCP-11120 or related entities are to be sent immediately to Site-14 for filing.

If SCP-11120-01 manifests in a Foundation site or area, one (1) class D is to be sent to explore it as soon as possible. The class D will be given the most updated map of SCP-11120 and one (1) handheld ██████ brand magnetic tape recorder.

All instances of SCP-11120-01 outside of Foundation sites are to be monitored for victims, but otherwise left alone and ignored. Survivors of SCP-11120 are to be monitored closely and ██████████.

Description: SCP-11120 is a dimension consisting solely of a recursive hallway. The area is illuminated by electric sconces spread at 10ft (3m) intervals. The walls are covered in a colour-shifting wallpaper with a swirling pattern that seems to create fractals. Its flooring consists of faded carpeting with a thick rug that runs down the middle. The walls, carpet, and rug also change colours. It is impossible to tell what any of their original colours were as all reports vary upon arrival and throughout expeditions. Despite this, it is impossible to record when or how their colours change, as subjects are unable to focus on or notice them changing. Attempts to bring visual recording devices into SCP-11120 have been unsuccessful.

On the walls between every sconce is a framed object. Each frame measures approximately 2ft x 4ft (61cm x 122cm). The object within these frames is one of the following: (1) an illusory oil painting of the wall opposite it, giving a mirror-like effect; (2) a photograph with the same effect; (3) a real mirror, which reflects anything situated before it in the hall and the wall opposite. It is impossible to remove the frames from the walls. Attempts to break the mirrors only result in the surface fracturing.

SCP-11120 can only be accessed through instances of SCP-11120-01, a wooden door that is painted dark yellow with a black handle. Its dimensions, material, and style can vary, often blending in with its environment. SCP-11120-01 can appear on any flat surface, both vertical and horizontal. It can also manifest as a freestanding door at any elevation. The handle of the door will always be to the viewer’s right and open inwards. This includes free standing doors that can be viewed from both sides. Viewers on the opposite side of the door do not see any indication of someone opening the door on the other side and maintain the ability to open the door as well. Participants entering on opposite sides of the door will appear in separate places. It is unknown whether both people are in the same version of SCP-11120 or not.

Addendum ██/██/2012: Following Incident #14-011████ reports from ███ ██████ ██████ have described a humanoid entity resembling Dr. █████ inside SCP-11120. This entity has been tentatively marked SCP-11120-02. Further research to come.

(1) See Proposal [REDACTED] by Dr. Shelley. Denied. A pu eoe qdci gzvsidn cmqjzss txv. - O5-11

[malleusmaleficent]

WH sneak preview ig idk

The first thing Gon saw, from his vantage point of miserably sitting on the floor, was the brim of a hat. Orange with streaks of green and red in a simple pattern. The muffled sounds of boots stepping inside the door bounced off the walls, and yet nobody appeared through the threshold.

There was merely more hat.

You'd think the hat must be over, but no. Another boot stomping inside. More hat. It was like a floating table by this point, with the door blocking the view.

At last the rest of the body became visible with the third step, a tall (he wasn't as tall as Killua, but tall), brown-haired, plain-faced man replete in an outfit that matched the hat. The left leg was striped vertically, the other leg was covered in a pattern of repeating diamond, each patterned leg terminating in a pair of high boots that came up to his knees. The shirt was poofy and loose with big, round shoulders, a bit like the shoulders of Gon’s outfit but tripled. The sleeves were the inverse of the legs; right arm stripes, left arm diamonds. All in the orange-green-red color scheme.

And the hat was enormous, big, and floppy. It was the sort of hat that was so big you could put another hat on top of it, and then that hat would have a hat. It was the size of a small child.

In short, to Gon's sore, saddened, foreign eyes, this man's clothing was an incomprehensibly hideous eyesore and he wished nothing more than for things to be normal with Killua again so that they could stare at him together.

But then…

Wait, what's this?

Is he sporting a–

Stars above, how big is–

_____

im having fun writing this, hope i can manage to make it even more ridiculous by the end