#I know it's probably just a stylistic choice

[thatwolficorn]

More stupid theory stuff:

Remember how Tessa and the other humans at the gala were just shadows? Maybe that was because those events were shown through memories, through the eyes of a drone. Tessa now, in the present, has colour and a more defined form. The humans from the pilot in the exposition sequence are also not shadows. Eldritch J's human hand wasn't a shadow. The skeletons aren't shadows. We see all of that as is, without it being a POV or anything like that.

Maybe the drones see humans differently?

[esamastation]

Is there a specific writing formula or something you do or research while or before writing one of your fanfics? You have such a unique writing style that ive seen only a few others have and i’d like to emulate it and add my own touch to it, Thanks alot! ❤️

Not really. I'm not sure what my style really is. I guess I just write stuff that catches my interest and I wanna explore and that naturally leads to world building and research?

It really depends on the fanfic and what is is about. Sometimes I've randomly gone on a research binge for reasons unrelated to fanfiction and then end up enjoying the subject so much that I end up writing fanfiction about it (like, say, hydroponics. I was into it way before writing about it.) Sometimes story goes down a certain path and something comes up I wanna dig deeper into in writing and I want to least try to be accurate and realistic and so down the Wikipedia/YouTube/etc drain we go. Realisim adds nice flavour to a fic, I think, even when it's about complete nonsense otherwise.

Once nimadge and I looked through like actual historical papers and books for historical accurace, and it was barely mentioned in the fic - but it was fascinating stuff otherwise. I figure that kinda of research is pretty normal for writers. Gotta look up 4 different things and a lecture for one factoid that ultimately doesn't even matter in the grand scheme of things

Depending on the mood, I just generally write stuff that's new and shiny and interesting to me, stuff I can fixare on. I guess that's what comes across in my style. Plus, I got almost 3 decades of writing under my belt at this point, so... practice and writing what I'm into, what makes me curious, what makes me wanna learn more, just to see how stuff affects other stuff down the line. Idk. I've never been good at explaining how I write.

"Write what your know" is meh. "Write what you want to know more about" is where it's at.

[mittenhater]

i think shakespeare wrote a play just like this

[skydigiblogs]

oh my god i just got to the pinnochimon's dangerous game episode (43)

oh my god you all were not kidding about that puppet packing heat

[shrekyaoi]

okay i‘ve been thinking about this for a while now so i figured i should ask here.

[essektheylyss]

I am TIRED of hearing the whole "there is NO reason a paragraph shouldn't be more than four lines" writing critique. If Ursula Le Guin can write an asshole psychiatrist monologuing for a page and a half straight, it is FINE, actually.

You can have characters monologue, you can have a long bit of description, you can give exposition in chunks—the issue is when there's no PURPOSE to it and it's treated as a prerequisite dump of information rather than a curated telling.

As long as you're making choices about language and what is being conveyed so that it's relevant and matches the style, it's fine.

[blookmallow]

ok i made one too

[gatheryepens]

okay some thoughts about Sunrise on the Reaping, because if I don’t say anything I might go insane….

[head-empty-river]

for anyone who doesn't know this grammar rule and is super confused by it, here's a psa i guess?

it's vs its

it's

if it can be broken down into "it is" then use an apostrophe "it's"

ex: "it's okay dude, you'll be fine"

its

if it's possessive, aka something that belongs to or is a descriptor of "it", then don't use an apostrophe

ex: "its grin widened"

my thoughts on the topic:

it's a weird grammar exception that (in my experience) wasn't explained well in school, so (like i used to before learning this) many people would get confused between the two. "it's" is more common, since often the thing being described with "its" tends to make more sense if a specific word is used instead. i think its most common use is in referring to previous statements (like in this sentence), or in describing something unknown/incomprehensible (imo best utilized in eldritch/cosmic horror).

fyi, english teachers often don't want you to use "its" or "it's" in essays when it can be avoided (which is partially why i think this distinction isn't taught. when students don't feel comfortable enough using it, they're more likely to choose other words instead).

[kozachenko]

Finally decided to play around with my old lineless style again! Also figured out a way to draw Reimu that I actually really like!

Artist's Notes;

I've mentioned in a few earlier posts that I've been wanting to draw in my lineless style again for a while as a way to test what I've learnt from my previous style in regards to lighting. I did the face first and then for a while was thinking about doing a full body illustration of Reimu just to draw her outfit again. I'll talk about the face first since that's the first drawing I did in this batch.

For the longest time I really couldn't find a way to translate Reimu's face into my style. I was able to make her clothes work out well, just not really her face. I did like elements of how I drew her face a few other times, namely the tiny eyebrows and her pupils, but they didn't really feel like Reimu to me, or at least how I imagined her in my head. I then realized that it was less of a problem with the entire face and moreso the eyes, and it took me quite a bit of trial and error to make something that I was happy with. Also, as much as I thought the tiny eyebrows were cute, it didn't really make sense with her character. Like, from what I know about Japanese history, plucking your eyebrows was something that nobles (rich people) would do, and since Reimu is...neither of those things, I decided to just give her some thicker eyebrows instead (I will be saving the plucked eyebrows for another character though, so they will return). After I got to a face I was happy with, my next challenge was the hair. I did the front part first and liked that enough to continue, and then after more trial and error I realized that deep down I was a short-hair-Reimu-is-best-Reimu-truther this whole time because once I gave up on the long hair and gave her shorter hair something just clicked in my brain. And so, after drawing her outfit in again (this time without the yellow tie which is kinda sad but I'll find a way to incorperate it into future designs because it just was not making sense to me in context with the rest of the outfit) and finnicking around with the bow, I came to a version of Reimu's face that I actually liked. I thought that it made more sense for her character to have her cut it short, mainly because she's doing a bunch of Youkai extermination and she has to keep her hair out of her face somehow. I still wanted to make it kinda messy though, as Reimu is probably too lazy to clean it up herself. I think another reason I like it so much is because in Forbidden Scrollery, Moe Harukawa gave Reimu short hair and that really suited her, so I guess that was just a subconcious reason as to why I liked it so much. I also think that the shorter hair helps to separate her a lot from Marisa, as I think Marisa looks really good with longer hair. Speaking of, now I wanna do a drawing of her and Reimu together to really solidify how I draw them (unlike the previous version where it was just them standing). As much as I do like the face, I am concerned if she looks too much like how I drew Keiki now, but that might just be a product of the stylistic choices I made with her eyes and I might just be overthinking it. I am hyperaware of same face syndrome so that's probably the reason I'm so concerned about it lol.

Now for the fully body drawing. I was struggling to think of a good pose for her, so I just took a picture of myself and used that as a reference while still making slight adjustments for readability's sake. This is another case of, "I've looked at this too long and can spot every single issue with it" but this time I'm still happy with the final product mainly because this was a test drive for how I want to develop my lineless style in the future and for what it is I am more than pleased with the result. The main reason I deviated away from my lineless style was mainly because I was having a hard time with the lighting and making it interesting, and I am so glad that I've finally found a way to make it work! I'm especially happy with the clothes, as I think clothing folds are really fun to draw. I was somewhat inspired by the works of J.C. Lyendecker and the way he draws clothes, though admittedly it is not a one to one, since I mainly wanted to try implying the shading of the clothing folds with shapes (I do really want to do a study of his style one day as his art is incredible). So for the sleeves, I drew in a bunch of triangles where I wanted there to be a strong highlight, roughly coloured in the inside, and then blended them all so it looks like a more subtle. On both of these drawings, I also added in a noise filter to give it some texture (as that's what I used to often do with my drawings) and while I do like it, I might want to experiment with making it more subtle in the future, as it's pretty noticeable in both these drawings. Overall, I'm really happy with the lighting and colours of this drawing, and while I could nitpick several aspects of it (her hand holding the gohei looks too tense, I tried making her look like she was standing on the balls of her feet but the positioning of her Gohei's trail of papers ends up making it look weird, and I could've put more effort into the hair and bow and so many more things), this is more of a piece for me to experiment with my style again, and I'm excited for when I get a new idea for a piece, as I really wanna try some more stuff out with this style!

[splatoonpolls]

a really long analysis about fanon Marina and the flanderization by fandom she has gotten

fanon marina (the version created by the fans) mainly focuses on two things, her being autistic coded and her being basically confirmed to be a lesbian. And I do think this has to do with her being VERY much like a typical splatoon fan in many people’s eyes. Her being a nerdy queer neurodivergent person. This is also why other parts, especially her relationship with her being an octoling gets often locked away. Subconsciously at least

if Marina was a book, several chapters would focus on her identity as a dome octoling. Her being autistic would probably pop up here and there, but it wouldn’t be a whole chapter. But her very much gay relationship with Pearl would definitely have a few chapters. But with people focusing on those few lines and chapters rather than the whole book. People would slowly ignore the other chapters, get shocked like Adam Sandler learning Pac-Man was the bad guy in the hit movie pixels.

the splatoon fandom’s western side is mainly white Americans and Europeans. Which is one reason why the fanon Marina doesn’t focus on her identity as an octoling, but also on how many details are not really told to the player. Marina barely shows her ears, which can both be read as her having sensory issues (which is a super valid headcanon(, but also her not feeling super comfortable with her body. With her ears being a reminder of her “you are with people who still think you are only going to steal stuff”. Her tentacles may be weird, she may lack the eyeliner an inkling has. But those things can simply be a stylistic choice. Her ears can’t be one. They are too different. I also know the DLCS focuses more on her identity as a dome octoling. However many can understand how her arc as a whole can be paralleled to the real life experiences of people belonging to marginalized ethnic communities. I also want to point, while writing this. I realized (which many people probably already did). Dome octolings you see outside of the domes (splatoon 2 octolings, Marina, Acht, Paul), are all refugees. They are all characters who grew up in a society that had been shunned for decades, even centuries. That society ended up being oppressive both due to external and internal issues. They know the society they’re living in is no longer a good place to live in. So they escape. Hoping to find a place that will take them on. For agent 8, Marina, and Paul. They found a safe place. Acht wasn’t super lucky however. They were told they could find a “promised land” only to be left in even more ruin before. So not only does Marina’s character arc focus on her being a part of an ethnic minority, but a refugee at that. so why does fanon marina usually avoid that part of her? Well as a mentioned before. Marina has three things that makes her very relatable. While the more backstory focused things are less relatable to a way smaller margin of the splatoon fandom. A way smaller part of the fandom are poc in a very white country. And a very small percentage are refugees.

if we removed Marina’s backstory. We would still be left with the fanon version. A nerdy autistic lesbian who deeply loves Pearl. I love how Nintendo got a game that also isn’t afraid to show a society that cares about queer people if not is queer centric itself. Which is probably why many people cling to that part of Marina. But if we removed that part. What would we be left with? Well, we would have an octoling refugee who is a trained soldier and can create weapons of destructions (and she would still be in love with Pearl, it is an important part of her backstory). im not saying the splatoon fandom’s openness to lgbtq and neurodivergent people is a bad thing just because they boil down one of the most plot heavy characters down to those things. It is actually a really great thing to have a fandom that is open to these marginalized groups.

i just want to say, due to this love for Marina being a character you can relate to. It feels like certain parts of Marina’s character (which can also be very relatable to some) is being drifted away to the more lore centric side of the fandom. Which will lead to a sort of fandom flandarization which is very unintentional and just done due to a love of Marina as a character.

If you’ve read this an disagreed, that is fine. Character writing is a very subjective thing

[supersoakerfullofblood]

Point of View: the Biggest Thing You're Missing!

Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.

Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.

Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.

Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.

With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?

Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."

This is a lot of info, so let's synthesize this into easy bullet points to remember.

Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?

Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.

Here's another way to look at it!

This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!

[ohnoitstbskyen]

I know it would probably bring a lot of hate comments but I am begging you to roast the hazbin character designs because I'd love to have someone properly articulate why they don't work so I could send it to people who won't believe me when I tell them. 🫠 Understandable if you don't want to get into it though.

I don't think there's that much there to roast, honestly?

Those designs are clearly an extremely specific stylistic choice, and because that style is consistent throughout the show, it ultimately feels coherent with itself.

There are trade-offs being made. Because Hazbin's design style is SO stylized and so heavy on decoration and detailing, because it puts a lot of emphasis on costuming, it isn't as good at communicating specific character storytelling as a more grounded style could be (it's kind of the same tradeoff that stuff like Genshin Impact makes).

Like, why does Sir Pentious' hat have an eye and a mouth on it that makes its own expressions? Apparently not for very much reason at all, except that Pentious has a bit of an eyes-motif going on in his design and it was one more place to put an extra eye. And that's a valid criticism of his design, but also the entire show is designed like that, so frankly it would be weirder and more out of place if his design alone didn't have that kind of overelaborate decoration going on.

It does create a situation where I have a hard time "reading" the character designs sometimes. For example, Vox, Alastor and Pentious all wear a similar style of suit with upwards-turned shoulders, butterflies and pinstripes. Now, am I meant to read that as Vox imitating Alastor due to his crippling need to replace and outdo him, and Pentious imitating the style of powerful Overlords because he thinks that possessing their level of power will finally give him relief from his paranoia and self-loathing?

Or is it just a design fixation of the creator who keeps putting their characters in suits because that's just what they like? I can't really be sure, because sometimes design elements are used to intentionally tell stories about how characters relate to themselves, their world and one another, but plenty of other times designs look the way they do Because Of Vibes.

But again, that lack of clarity is clearly an intentional trade-off - and the benefit of that trade-off is a design style that is extremely varied, wild, expressive and memorable. Hazbin Hotel seems like a very easy show to draw fanart of, and a very fun show to draw fanart of. Those designs (especially the hyper-expressive faces) are begging to be the subjects of traumatic headcanons, unbearably cotton-candy soft fluff fantasies and weird, taboo, homoerotic power dynamics. Slaps roof of character design, this bad boy can express so much vicarious emotional intensity.

It's very exuberant, very excited about itself and very self-indulgent, it's a style that prioritizes visual impact and visual interest over readability (something which the animators of the show navigate with real skill, props to them) and individual aesthetics over worldbuilding.

And I don't blame anyone for being turned off by that (I certainly was the first time I started seeing those designs going around), but I would struggle to call the show's designs "bad" when they are clearly achieving exactly what they want to achieve.

I have some criticisms, especially re: how the show treats skinny bodies as an unquestioned, desirable default, and employs fatness as a means of alienating and abjecting the audience. That sucks very badly, and is a serious disappointment, and one of the few places where the show feels like it is being cowardly in its design philosophy. But I don't have it in me to do some kind of Hazbin Hotel Sucks And Here's Why takedown, its problems are not unique or extreme enough to warrant it, at least not as I currently understand them.

[kromato]

Hey what's up it's me with a special interest in weapons and I wanted to share my thoughts about Nikto's machete (no that's not an innuendo for once)

Had a bit of a solo-mandela effect going on because for the longest time I thought it had a modified 'billhook'-like feature on the back of it for whatever reason (but smaller than what would be considered a traditional billhook, more like a hoof pick blade).

I kind of enjoy still HCing that it does have it because a) it looks kind of cool and b) a terrifying thought to think this man whips this giant intimidating blade out, flips it deftly in his hand to the hook side, just to sink it into flesh and yank people back in when they try to run. Also it allows me to think about a scenario where, resident karambit knife enthusiast Sebastian Krueger, can teach proper blade hooking techniques to our beloved plural man. Anyway back to the knife - It's like a cross between a coup coup and a bola? But has a cool flare like a Tapanga for his newer mwiii model. Also like a vintage Senegalese french machete, which were known for their high quality (might technically be the same thing as the coup coup, just with the locale specified I think, both entrenchment machetes). That curve also kind of reminds me of parangs but it's not particularly drop-pointed.

I HC Nikto as a very brutally pragmatic but particular man, so it doesn't feel too far off to think that he went out of his way to acquire something niche like that. Some kind of custom-made machete that fits his needs just right. The length of it, as well as the curved, ergonomic grip makes me think he's gotten it to do some serious chopping, so it's also probably heavy and weighted forward to make that easier when swinging. I don't see him as a flashy fighter personally, and though maybe it was a stylistic choice for the game devs/artists, I think it's a neat feature that speaks to his character. I do think it's made of hefty steel; weight is important in chopping knives, and though steel rusts, it's sturdy compared to a lot of other metals. Not to mention - I feel like oiling and caring for his weapons, machete included, would be a ritual source of peace for his sometimes loud and chaotic mind. Grounding when he can feel the weight and texture where his nerves aren't completely damaged, smell the oil, have tangible proof that it's reality when he sees the maintained blade even after he becomes unmoored.

Now this is just me WAY reading too much into it, but it gives me a little giggle - The hole at the end of the handle is for a wrist lanyard, so you can loop a piece of paracord rope to secure it around your hand. It's an important safety feature just in case the machete goes flying out of your hand while chopping, lest it hit people in your vicinity (accidentally...?). In his 19 model, he doesn't have the paracord rope attached; Nikto says "Fuck your safety" but also huge ego of "I would never accidentally fling my knife!!"

Could also be because it gets caught on stuff if it dangles off his hip though - he's got one on his newer model where he wears the blade on his shoulder, which looks like a place where it's less likely to snag on things. Could also be because he's been increasingly featured in larger factions, so he works with more people and was asked to have one on hand maybe?? I don't know. In either case the knot in the middle of the rope makes it too small for his wrist which could also be read as a passive-aggressive "Here's the fucking safety rope it's on there ALRIGHT" and yet he's also made it nonfunctional for its intended purpose lmao Okay that's all byeeee

[sulumuns-dootah]

What WHB characters would wear in the human world: Tartaros

⟡ Masterlist ⟡ 

Quiet luxury with maybe some subtle expensive things

He's so old he's to bored of showing his wealth

Well, except the fact that he dumps money on anyone who looks like they could use it

Oh but this man's car? Whole different story

(I'll leave the make, brand and color to your imagination, and deffinitely not bc i know nothing about cars ^^)

   ༺☆༻

Total opposite of Mammon

If he's 'quiet luxury', then Bimet is 'omg please turn it down at least a bit luxury'

Doesn't care how tacky he looks

All form of stylistic advice is ignored bc Bimet doesn't understand broke

Let's be honest tho, he looks like he just stole the clothes off the mannequins in the stores

Definitelly more into the more interesting brands like Versace and Luis Vuitton (Gucci is too cheap in his opinion)

   ༺☆༻

With the amount of bows this cutie loves, Coquette is the perfect choice for him

'Why is all of this feminine clothes so cute and the male so boring?'

Eligos in a skirt and lacy thigh highs. That's it. That's the tweet.

Would probably get a leech and put a bow on its head

Also an absolute Selkie fan who attends every show

   ༺☆༻

On one hand, I'd say he's very much like Zagan and just wears any comfortable sweatpants and top, except the price is at least doubled

But then, thinking about it, Valefor looks like he enjoys Rick Owens

Maybe not the more extra stuff, but definitely the more down-to-earth stuff

Oh, also watches FrugalAesthetic on YouTube bc I said so

[usedpidemo]

Voguish (Itzy Ryujin)

(Thank you for the commission! I hope its to your liking.)

—————

If you had any other choice, you’d rather be stuck at where you were previously: earning a modest income, just enough to get by from job to job, performing straightforward work, and most importantly, friendly clientele to attend to. It wasn’t surprising; you knew this industry was built on the backs of some of the most snobbish, arrogant people you’ve ever had the displeasure of meeting, but—

“You’re late. Again.”

Shin Ryujin was probably among the absolute worst.

If you’re going to make an honest assessment, Ryujin isn’t that bad. Serving as her head stylist for the better part of a year, she’s by far the client you’ve spent the most time with. She doesn’t talk a big deal about the money she’s making or prattle into a conversation intricately designed to inflate her ego to the moon, unlike some of the other A-listers you’ve had the ‘privilege’ of working under. 

However, her attitude is definitely up there.

It’s not even a little over a minute. In fact, you’ve been standing at her entrance door two minutes before the clock hits ten. Doesn’t matter if you’re in the right; her style, her rules. She doesn’t care that you're sweating buckets rushing her newly minted outfit from across the street up to the 27th floor. Any moment where she doesn’t look like a million dollars is a moment wasted.

“My apologies, Ryu—”

Ryujin’s glare puts the fear of God into your soul. “What did I say about using my name?” 

You pause. Gulp your throat. “My sincerest apologies, Miss Shin.” 

“Hmph.” Grimacing with disgust, she hastily snatches the dress from your possession, proceeds to slam the door on you, tone bordering on shouting, “Come inside. You’re late.”

Entering the door shortly after, you’re welcomed by a film crew in the process of recording her as she struts around the living room suite holding your dress in her hands. If there’s anything you’ve learned from attending to her, she’s as effortless of an actress as she is as a model. The moment her eyes face the camera, she instantly transforms into the picture perfect icon that has all of social media buzzing.

Moving out of the way has become muscle memory at this point. When she’s in front of the cameras, you’re merely an onlooker. 

“So this is my outfit for tonight,” she says enthusiastically into the camera, proudly flaunting the outfit—a convincing facade to the untrained eye. For the press, she’s this likable, larger than life figure living her best life, attending all these invitation-only parties and wearing the most stylish dresses. 

“It was a risque design, and I wanted to try something bold for once. It was love at first sight when I saw it,” she comments, and you know very well this wasn’t her first choice. They won’t know that this was the 12th option, handpicked just last night after weeks of trial and error, only to be thrown away right after. At her request, you had it ordered on incredibly short notice, and the plan almost fell through. It was hard to deny Ryujin’s wants, no matter how impractical or unfeasible they were. 

In a way, this was to be expected. Ryujin emanates this young, it girl energy. Like any aspiring icon, she usually wants to stand out from a usually safe crowd. Not that it hasn’t stopped you from interfering a handful of times, much to her annoyance. After all, you’d assume she was going to a casual party or some red carpet event, not a prestigious gala with some of the biggest people in the world in attendance. You name it: politicians, CEOs of tech giants, industry titans who make the cover of Forbes and Time every other month. There are high standards that must be kept, and she’s doing anything but uphold those standards.

The camera pans away from her, and she immediately tosses the clothing aside with zero regard whatsoever. You manage to save it before it becomes near valueless. No matter how bothersome she acts, you can’t bring yourself to call her out on her antics; not just because there are several careers at stake, including yours, but you know what she’s capable of doing when her patience exceeds breaking point. It’s a firsthand experience to catch Ryujin in a state that isn’t picture perfect.

“Where are you?” Ryujin shouts from the other room, irate. “Slow as ever, my goodness.”

When you approach her, she’s on her phone, seated in front of the mirror with her legs crossed, having commanded the camera crew to vacate the room, leaving you alone with her. It’s only when you are together that she’s her true self, and it’s not far from what you usually experience even with other people around. They understand it’s in their best interest not to interfere.

Turning her eyes, she catches you idling with her sharp stare. “Well? Are you just gonna stand there and look at me all day? You already do that on the regular.”

Her behavior’s something neither cameras nor testimonies will ever publicly reveal: that Ryujin’s practically a spoiled brat behind closed doors. Any attempts to expose her have been silenced by huge settlements, NDAs, and every legal bind in the book. And when those don’t work out, there’s the strangely coincidental disappearance of potential witnesses that read like every tin-foil hat post written by some gullible conspiracy theorist on the internet. 

In retrospect, perhaps there’s some merit to the rumor that her father is supposedly the head of some mafia organization, but you digress. She has never brought her personal history up in interviews, other than she’s been adopted by the founder of a relatively unknown investment firm. An elaborate lie.

She’s engrossed on her phone, unable to keep herself still while you struggle to apply makeup on her face. Time’s of the essence, she usually says, but she’s purposeful with how much time is wasted, with the primary objective of finding an excuse to lay on you. It was never going to be fair from the start. All the moments where you were late, in her eyes, were intentionally done to put you in the wrong. 

To be fair, the numerous stylists who’ve taken care of her warned you in advance. You couldn’t deny the opportunity for a huge paycheck.

“Miss Shin, please stay still,” you say, carefully stringing your words together, delivered in the least offensive tone possible.

To your surprise, she complies. It’s a miracle. She never obliges with your requests, let alone direct commands.

Applying the rest of her makeup takes only minutes. Usually, you’d be going back and forth, and you’d be in front of the mirror for hours. See how easier everyone’s job is when all parties cooperate and collaborate effectively? You’re doing your part like it’s second nature; you only wish Ryujin was this accommodating more often, and not whether her brain flips a coin to determine her attitude for the day.

“You look amazing, Miss Shin,” you comment, staring at the mirror, her face radiating with the glow of a million bucks.

Taking her attention off the phone, even if it’s only for a second, proves to be a chore, as proven by her particularly grumpy expression. She scans herself, peers through every little detail in the mirror—showing more interest in herself during this brief moment than her dozens of photoshoots over the last month—and gives the smallest of nods. You even see the tiniest of grins escaping her lips, too.

Her steely attitude unwavering, she commands you, sternly, “Bring me the dress. Now.”

A clap of hands and the door opens like magic. Your co-stylist briskly walks toward you, outfit in hand, promptly handing it over before immediately leaving the room. No words are necessary; she makes it clear who’s allowed to touch her, let alone dress her, and it’s only you. Handling Ryujin was as meticulous and methodical as preserving a historical treasure.

She finally gets off her chair, hands prepared to loosen her robe before something catches her attention. “Door.”

It’s common sense. You hurry over to the opened door, slam it shut. Then the magic happens.

Ryujin nonchalantly slips her bathrobe off her shoulders, letting it freely fall to the floor. She’s draped in nothing but the thinnest of underwear, her asscheeks openly poking through the fabric. It’s amazing how she’s allowing you to see her like this, her barest, when most of her shoots and red carpet dresses have been nothing but conservative. Sometimes seductive, but mostly safe. There’s nothing left for your imagination. On the other hand, you’re so used to this vivid sight, it’s almost part of your daily routine. You shouldn’t be fazed, but her perfect figure has you staring, shamelessly, like it’s your very first time seeing nudity.

At times, it leaves you vulnerable. Like now.

“You were doing quite well too,” she comments, snarkily, gazing at your blank expression through the reflection, snapping you from your daze.

Gulping your throat, you find yourself embarrassed, ears flushed red. Even while you go through the methodical process of measuring and dressing her, the shame lingers. You find yourself unable to glance at the mirror. The very few flashes and glints that meet you when you turn you face your reflection, you find her suppressing a tiny giggle. 

As you put on the finishing touches on her outfit, she brings the point home, “We’re already late by an hour.”

A quick look at your watch tells you it’s almost eleven. Ten minutes before the next hour. At first glance, it’s still early, but it can be deceiving. Parisian traffic is notoriously unforgiving, event or no event, showing no partiality. Getting from one place to another is a whole day’s work.

Then you remember the fans and paparazzi congregated at the hotel’s entrance. This crowd that you had to brute force through just to get her dress on time. The hotel security can barely hold them back, and you can hear several sirens screaming miles away, most likely police presence. Many persons of interest will be gathered in one setting, after all.

“How do you feel, Miss Shin?” you ask, taking a step back to let her soak in her meticulously curated appearance. 

She blinks rapidly. Then she takes a deep breath.

“Let’s just get this over with.”

—————

Everywhere you look lies nothing but chaos. Chaos and cameras.

Barricade is filled with an indistinguishable mix of both paparazzi and media from all over the world. Lights, whether from above or from cameras, flash in every direction that it’s almost blinding. Deafening shouts pierce through your ears that whispering is impossible. You’ve been to as many red carpet events as these journalists and photographers, but you’ve never attended an event of this magnitude until now.

Left and right, there’s a random celebrity being interviewed by a news junket. The women you spot are dressed to the nines, adorned in colorful and graceful garb, while the men are decked as if they're attending Sunday service. You can see it now: another round of fashion bloggers berating and cursing the men for their simplicity and lack of creativity, but that’s to be expected. 

Your phone vibrates from within your shirt pocket. It’s Ryujin, having disappeared somewhere in the crowd.

> Where u at? 😤

You immediately reply back. Your conversations have been practice for your future relationship:

> Can’t find you in this crowd 

> Taylor Swift is just across me XD

> Scarlett Johannson too

> And I think I saw Zendaya and Yuna talking with each other, can’t confirm though, they’re far away

To which she answers:

> Stop playing around.

> Get over here NOW

> Do you style any of them? 

> You don’t.

> Come here. NOW.

It’s a simple but strong warning. Aside from the fact that you’re there to attend to Ryujin’s needs and not larp as a celebrity, there's a change in her attitude during these events. She becomes strangely more attached. It’s become a byword for you to mention other women around her, yet she interacts with them in a friendly light for the cameras to see.

Ryujin’s preoccupied with what’s presumably the umpteenth interview of many when you finally reunite with her. She takes another moment to pose for the next wave of cameras, picture perfect as always, then after, she finally turns her gaze, meeting yours. It has been ten minutes since her last text, and you have many reasons to say why you’ve vanished.

None of which truly matters.

“There you are.” She says, glaring angrily at you, tone laced with contempt, sounding like you were gone for days.

“I can explain, Miss Shin,” you try to say, but it has no effect as she approaches you, careful as ever to keep a picturesque facade in front of the media. You can see her holding herself back from popping a vein. “Apparently President Biden and his wife are in attendance and we were told to make way for his entire security team—”

The way Ryujin pulls you by the ear while you both retreat from the chaotic crowd is comical. In a sea of cameras and eyewitnesses, some tabloid’s bound to catch you, take the unfolding scene out of context, and write a rushed article that spreads like wildfire, but no, it doesn’t draw an ounce of attention. She's a small fry in a pond of bigger fish, after all. Over your corner, you see a dozen Secret Service slowly guide the president along the carpet, parting everyone around old Joe. In a way, watching him brings you to a strange realization: that you can empathize with the poor geezer. You’re both in the same predicament, being strung along to places you have no zero interest in.

It’s an effective distraction. An air of tense, awkward silence falls upon you both as you stare at each other, your personal conflict hidden away from the public eye. You open your mouth, about to say a word, and—

Whack!

Ryujin hits you with the hardest of palms, all her pent-up frustration released with a single, powerful smack of your cheek. The force echoes throughout the enclosed space like thunder. Your lips draw a little blood. A quick rub of your face reinforces the consequence for your actions. Rough. Still, to say she looks unhappy after enforcing her will upon you is an understatement.

And just when you try to open your mouth (without the intention to complain; you’ve given up at this point), she follows it up with a second slap, with about half the impact of the first. This time, the other cheek. Her gaze is scathing, lethal, hypnotic—as if challenging you to try her already short patience. Say something, motherfucker, is subtly etched on her expressive lips without the need to verbalize them. 

Another tense moment of silence. She makes sure your eyes never leave her contact. When it finally breaks, her judgment echoes in your head like the toll of a death bell—a lingering reminder that you’ve truly fucked up.

“You’ll be seeing me after tonight,” she says, each word delivered like an arrow straight to your heart. Before facing the world again, she adds another devastating blow, “My hotel room. Midnight. Sharp.”

—————

For the most part, in the eyes of the public, you seem to have done a fantastic job styling Ryujin for tonight’s gala. Within hours of the event, numerous articles published of the event list her among the best dressed stars, praising the bold nature of her outfit, as she intended in that vlog-style video from earlier. It’s all smiles as you watch her from afar, casually mingling with every celebrity in attendance. In case she needs to remain fresh, have new makeup applied, or change into a new dress for afterparty purposes—sometimes all of the above—you’re closely on standby. Ultimately, she doesn’t; not a single time she has called or texted for assistance. In a way, it’s alarming.

Her reminder sticks firmly on the back of your mind. Every word she says, she means it—no matter how small or big they are. It lingers even as her personal driver and bodyguard messages you with the instruction to return to the car, where she’s mysteriously absent, having been commanded by Ryujin herself to send you and the rest of her personnel home. It’s uncharacteristically strange; either she’s changed her mind and is having a good time at the event, or she’s probably drunk out of her mind, and the latter is typically the norm.

When you retreat to your room, you nervously watch as the clock slowly ticks towards the inevitable. It’s like witnessing your death. You know you can’t stop it, and you can’t look away, either. With the understanding that you’ll likely see the sun rise when it’s all said and done, you don’t even bother to slip into your sleepwear. 

The clock turns midnight. Seconds later, you receive a text on your phone. The message. It immediately disproves any theory or hope of meeting her good graces:

> Meet me in my room. Don’t even think about hiding or running, cause I will know

Of course you comply; you really have no other choice.

Five minutes later, you’re at her door again, with nothing but your suit, ready to face her judgment. It swings open of its own accord. Without any formalities, you step inside the familiar living room, now tidied up and cloaked in near darkness—a stark contrast to the mess it looked earlier in the day. Not a sign of her presence can be seen or felt. If you’ve been feeling uneasy before, now you’re straight up anxious, and the terror leaves you pale.

The door slams shut. Now you’re completely in the dark, with nothing to latch or cling to but your own resolve, which is slowly fading too. You want to speak her name, but you know you’ll be trying fate again, and fate has dealt you a cruel hand already. You didn’t want to fall even further. 

Your slow breaths are the only sign of life.

And the faint voice in your ear.

Wait—

Before you know it, you feel your throat tense up and your body tremble frantically. Faint shadows coil around your waist and neck, and in that moment, your fate has been sealed. 

“At least you’re not late this time.” Ryujin whispers into your ear. Then your eyes snap wide open.

“Agh!” 

A powerful surge of pain overwhelms your entire body, renders you weak in the knees. You fall to the ground, barely keeping yourself from completely melting onto the carpet with your hands. Still, the pangs remain too much. You can barely hold up on all fours, let alone move your arms and legs. 

It’s not enough. A soft hand hovers across your arched back, brushes through your hair, before it’s immediately followed by a direct blow to your nape. Your shout of agony reverberates throughout the dark room while you’re forced further down on your knees. Nearly forced into a prostrate position, you’re barely holding on. Another hit of this force could knock you unconscious, maybe worse.

“You’re going to learn your lesson today,” says Ryujin, strutting from behind you, cloaked in what appears to be a white gown. She’s holding something that you can’t identify, but you can tell she’s not in the mood to play games. Sparks of electricity flash and fade close to her hand. It was a taser all along. You probably would have guessed that from the intense shocking pain you’re currently feeling.

“Bedroom, slowpoke,” she sternly commands you as she saunters toward the room first, leaving you alone to pick yourself up. You’re still reeling from the two shocks of electricity applied to your waist and neck; it stings. Your body struggles, aches, cries out in despair, but you ultimately muster up enough power to follow her minutes later.

What greets you in the bedroom is a dimly lit bed, with Ryujin as its centerpiece, and both ends of her figure bathed in a faint wave of orange lamp light. She’s draped in nothing but the same hotel-issued bathrobe from earlier, her legs crossed, gazing at you from behind designer shades, smirking with malicious intent. It’s regal, seductive, inviting, intimidating. You honestly could stare at this sight all day long.

Before you entertain the thought, she cuts it off. “Strip.”

Her gaze lingers as you quickly bare yourself in front of her. She grins, giggles, adjusts her glasses with each piece of clothing removed. It flashes at her widest when you’ve divested your shirt and your pants, revealing your chest and your evident bulge, unknowingly growing hard behind the elastic fabric. It seems to spark a new idea within her, even though she’s the type of woman who follows through with her plans after they’ve been organized and premeditated.

She hops off the bed, slowly saunters toward you with trained, modellike fashion, using you as a makeshift catwalk. Turning the corner, she retreats behind your back, gripping a hand on your neck, craning the other down your bare chest. Her tongue tickles the back of your ear, which morphs into the smallest of smooches while she drags you to the bed like a hostage. As she hauls you over the mattress, she continues to feel your skin and body, your ears titillated by the gentle moans and whimpers from her sultry lips.

Your bump knees with the bed before she sends you flying over the edge. Temptation comes knocking at the door of your suppressed lips; you’re itching to cry out in pain, pleading for a bit more consideration. You know it’s a futile effort. When it comes to sex, Ryujin was anything but gentle. 

“Don’t look. Stay still.” 

Following her command is second nature to you; even when your positions were interchanged, it was merely an illusion—you were never in control. Ryujin plants a palm around your throat, forcing your stare against the bedrest. The clanging sound of something resembling a belt or a buckle keeps you curious. Tense, breaths keep you calm. Deep down, you know what’s about to happen; there’s no stopping it, you can only brace for impact. 

In the gap between the point of no return, she tells you her mindstate, how her frustration and apparent jealousy never receded. “I hated every minute I spent there. You have no idea how difficult it was to keep a face in front of everyone, especially after seeing Yuna. Fucking. Yuna.”

Your reaction comes out, not through coherent words, but through a labored groan. You feel her finger circle rings around your ass, sticky and wet. Of course she was there, social media couldn’t stop buzzing about her appearance—and she rarely shows up to these galas. Now it’s all making sense. After all, you were Yuna’s stylist before Ryujin snatched you away. 

Ryujin continues to apply lube around your sensitive hole, occasionally fingering you. Holding in the groans from the discomfort proves to be impossible, but she prefers to hear you whine, especially when her name is spoken. It’s the perfect reprieve from the evening’s frustrations, keeping her from raising her voice to the ceiling. “She pisses me off so fucking much. First stealing my thunder at every fashion week, now this? I thought she hated art galas?”

It’s evident that she doesn’t like Yuna in any shape whatsoever. If not for the cameras and all the famous people in the building, she’d already be trading blows with her. If there was any one person she wanted dead, it would have to be Shin Yuna. Of course, knowing this, you never included your time with her on your job application, let alone mention the fact you briefly spoke at the event behind her back. She was in an already spiraling mood, and you didn’t need to make it even worse.

“I was thinking of using dildos for tonight, maybe just my fingers even, but I don’t think it’ll be enough. I really hope you understand.” That last sentence—she sounds apologetic, remorseful, but the warning is ultimately shallow; she’ll rough you up, wreck you, ruin you, and enjoy every moment of it. You’re merely a blank canvas to her twisted fantasies.

“Oh, oh–fuck!” She cries out, joining your deep scream in harmony as she plunges the dildo into your warm, wet hole. This isn’t your first experience on the receiving end of Ryujin’s strap, yet every plunge feels as destructive and spine breaking as the first. No pleasantries or formalities, just apply the lube then hit. The idea of teasing you goes against her very blunt, assertive nature.

“Shit—oh fucking shit, you’re so goddamn tight,” she says, snaking a hand around your waist as her plastic dick slowly penetrates your hole, little by little. She has you grasping at pillows, staring at the ceiling then down to the sheets, until you find the twisted image of her hips slowly pounding against your ass, letting the pleasure of pegging overwhelm her. It should be excruciatingly painful, an agonizing reminder to never get on her wrong side, but no, there’s something hot about getting dicked by a tough woman like her that arouses you.

Eventually, she comes to her senses, finds her footing, and remembers that she’s meant to punish you, not reward you. She knows how good you make her feel, even if your cock is meant to be inside hers, not the other way around. You can’t help speaking your mind, and it boosts Ryujin’s ego to the moon. “Please. Fucking use me, Miss Shin. Fucking ruin my hole like how I ruin yours, miss.”

Even upside down, you can see how visibly delighted she is to hear those words every single time. Can’t hide that wide smirk plastered on her lips, no matter how upset she is. It’s intoxicating. No matter how hard you’re huffing, the pleasure she derives from using you keeps you going. 

Slamming your eyes shut, Ryujin does what you both want. Fucks you with her dildo hard, clenches and quelches with each careful, intricate stroke. Sometimes you’re in that position, taking her ass and ravaging her body as your own. Now it’s her turn, and she’s been taking after you. Between thrusts, she slaps your cheek, pulls on your neck and hair. You’ve built this alarmingly toxic work relationship, but the sex has never felt this invigorating, so cathartic. The perfect use of frustration to be channeled into something pleasurable and rapturous. 

You’ve never seen Ryujin this focused, this committed to wrecking you. She’s using your hole with such ferocity you think she’ll make you bleed out. Behind those glazed, pleasure-filled eyes, she sees nothing but red. Difficult as it is, you follow a string of moans from her lips hidden beneath a continuous echo of groans from your end. It doesn’t help that these walls are thin and everyone on this floor can hear your escapades.

Neither of you care. There’s a good reason as to why she booked the whole floor to begin with.

The bed quakes, and quakes, and quakes—until it doesn’t. 

A puzzlingly calm fills the room after countless minutes pass. Ryujin’s frantic breaths close the silent gap, having pulled the dildo from your hole. It’s slick. You realize the change of pace. 

“Miss Shin, why did you stop?”

She doesn’t reply immediately. When she does, she’s still catching her breath between spoken words. “I told you—it wasn’t going to be enough. Lay down for me, will you?”

Without a second thought, you comply. This gives you an opportunity to truly see her in the flesh for the first time tonight. She’s wearing a combination of corset and lingerie, her juicy thighs layered with lace garter. Hopping off the bed, she unbuckles the strap around her waist, tossing it aside to the floor. You then focus on her plump ass, accentuated by her slim thong.

Damn, she looks better now than she does naked. You feel proud that she’s wearing your tailor-made lingerie.

Before you entertain the thought of undressing the very underclothes you’ve prepared for her, she slips the boxers off your ankles. She climbs onto the bed, stands atop you. Even with her short stature, in this position, she’s larger than life, a dominating presence that only desires complete control. 

“Hmm, I don’t know what I should do. I could let you fuck me, but that doesn’t sound right for a punishment,” she comments, playfully placing a finger on her chin, jokingly thinking. For a brief moment, it does appear that she’s stumped.

When the idea hits her, her eyes widen, and she has this self-conceited look, as if she’s got it all planned out. 

She reaches a hand down to her knee, slowly peels one of the stockings down to her ankles. Then she does the same for the other half. The way she positions both legwear on your cock is intentional; it’s to stir the idea of pounding into her cunt a real possibility. Your gaze remains fixated on Ryujin’s face, ever flawless in her scantily-clad figure, being her model self atop you. 

As she tugs on the lace of her panties, you start reacquainting your mind with the image of her tight cunt. She lowers it, barely down her thighs, enough space to tease, enough to make your heart race. Her attention is nowhere close to you; she has other priorities, and fingering herself is one of them. She rubs a digit around her heat, moans out in ecstasy with the same energy as getting fucked. The trembles of her body send aftershocks that reverberate all over the bed. 

It’s already hot enough to get fucked by Ryujin’s strap, but this—the sight of Ryujin pleasuring herself, mouth gaped wide open—is a hundred times better. This is the same reaction she has shown throughout the numerous times you’ve railed her, even though you’ve seen that face during sex. Against the mirror, against the water’s reflection, against the tinted windows of her cars—her face serves as motivation that keeps you hard whenever she demands it. Your hands begin to move on their own, reach down to the groin unknowingly, unsure of whether she’d want you to masturbate or not.

You feel your hard cock, already partially soaked with precum, dripping on her garter. As much as you want to keep them on, you can’t go against the deep seated urge to masturbate with her. Her foot begins to lean against your waist, right as you begin to stroke your shaft with your fingers. Moaning alongside her, you thrust your hips upward, passionately murmuring her name, with nothing but a singular thought: her pussy.

It’s etched on your needy lips. “You’re so sexy, Miss Shin. Please let me fuck you, God—”

She whines as though your hot breath is against her neck, growling a tone higher than normal. Her left foot is slowly clenching around your balls, the other at the bridge between your thigh and your crotch, gently nudging your free hand to move aside. She’s beginning to apply pressure on you, perhaps a subtle gesture to make you stop and give way for her feet to take over, but you’re engrossed in the moment to fully realize. Then again, subtlety isn’t her speciality.

It’s only when her foot presses down on your active hand that you slow to a complete halt. You gently rest her soles on your shaft, slowly wrap her soft toes around your tip. For the most part, their grip is shaky, but when they stick, they feel so slick, so warm, and significantly better than whatever effort your fingers can muster. She can’t wear heels without a few kisses placed on them, you recall; something about being Cinderella growing up, how she prefers to be treated, to receive nothing but showers of praise and attention, and you’re doing just that.

Her digits seemingly acknowledge what they’re stepping on, and soon enough it becomes the perfect makeshift ring to stimulate your cock. Her toes just feel the best, most direct spots around your sensitive shaft, gradually building momentum for when you eventually paint her pretty feet. At least, that’s the goal. You’re both drowning in pleasure, chasing separate highs, but using each other’s bodies as conduit for your own personal gain.

And it’s not that she doesn’t know; she knows. You’ve caught a glimpse of her half-lidded eye peeking down. She sees it, merely chuckles at the notion, and continues to finger herself atop your helpless body. Mutual trust brings you together; she won’t stop you as long as you won’t do the same to her.

“Yes, fuck, I’m gonna cum so hard,” you say, breaths hurried, and it isn’t a matter of if, but when. “Every part of you feels so good, Ryu.”

You’re past formalities at this point. She’s too far gone to care that you've called her by her casual name. Her fingers, both slick and warm at once, are catching fire from the frenzied pace she’s rubbing her clit, certain her dripping juices will find solace on your splayed figure. Racing with her orgasm, her underwear is halfway down her meaty legs, her very foundations shaking. Inadvertently pressing her foot tightly on your cock, she’s holding on for dear life, and it threatens to steal your soul before you reach that immaculate high.

With friction at an all-time high, one rough, slippery slip between her toes, all while your loins burn , moving as if you’re burying yourself deep in her cunt, eager to fill her with seed. The thin thread snaps. Sends you careening over the edge.

Your fall is accompanied by the endless scream of her name. To have your cock be graciously drained by her feet, it would be disrespectful not to. She’s still going, chasing that high even as your cum geysers all over her feet, spills over your knees, your belly, on the sheets, as if her own slick didn’t already make an utter mess of this five-star bed. You’re mentally cheering her on, distracting yourself from the endless cascade of seed gushing beneath you. 

This disastrous mess finds you again, this time in the form of Ryujin’s orgasm. She orgasms, cries her loudest cry, her features at their most corrupted. Her pussy gushes like a rushing waterfall, completely soiling her legs and panties with her slick juices. Your groin manages to salvage whatever her thighs haven’t absorbed, and it’s a sticky pool that latches onto her dainty feet. When she steps off your cock, the squelch of wet seed splatters on the sheets until she touches the ground.

You both take some time apart, let the aftermath of your orgasms fizzle out. Ryujin assesses the damage to her body; she’s still a model, after all. She hastily rids of the soiled underwear, treating it like some kind of contaminated object that can only be cleansed by fire. From the looks of it, she’s committed something dangerous, and you’ve done something scandalous. 

“Shit. We got carried away,” you say, lifting your head from the bed, panicked.

“No. You got carried away,” she replies, facing you with that familiar icy gaze. The honeymoon period is over. “Did I allow you to plant my feet on your cock? Huh?”

Swallowing your throat, you understand that she’s technically right, but also, she most certainly enjoyed the feeling of stepping on you—something you can use against her. Still, Ryujin’s word overrides all reasoning, no matter how logical they are.

You see her facade fall apart when she approaches you again. She climbs onto the bed like a cat, arches her back, and sends you back down to the mattress when she pounces on you. On her lips is the widest smirk you’ve ever seen on her. 

She wants more.

Rising to her feet, she plants her toes directly on your chin, oozing with the remains of your cum mixed with hers. “You did this, now you’ll clean it up.” 

As your tongue laps it up, she occasionally disrupts your rhythm by kicking you several times. Not that you’re hurting her (you couldn’t even if you tried) but for the delight of bringing you misfortune. It’s completely in line with the typical abuse and inhumane treatment you face from her during work hours. You won’t complain, but that was never in the cards, anyway. 

“I can’t believe my stylist is a complete freak. Fucking hell,” she comments, glaring you down as you give her toe the occasional kiss. She’s visibly disgusted by the realization sinking in, but deep down, she knows you’re the exact stylist she’s been looking for. 

—————

And as if that’s not enough, she’s found a punishment perfectly suited for you. 

“Just so you know, you’re not getting paid after the stunt you pulled on me today,” says Ryujin, in reference to your accidental disappearance during the red carpet. You’re laid out on the floor, prone, your groans stifled by the living room carpet. Meanwhile, her feet tread all over your bare back at a steady tempo, leaving what could have easily been hickeys red marks and footprints on your skin.

“How long do I have left, Miss Shin?” you ask, voice almost indiscernible.

“About ten minutes,” she replies, looking out the hotel room window, watching dawn slowly break over the Parisian sky. “Don’t ever disappoint me again, do you understand? Freak.”

——————

(A/N: First commissioned work complete! Definitely exploring elements out of my specialty, did you expect her to peg OC? Fun dynamic to write, thank you for reading!)

(P.S. If you want to have your own story/idol written, you can send me a commission :D)