#Otherworldly

[souldivinity]

you are an angel and you are divine and you are holy and let no one convince you otherwise.

[everlastiingiimmortals]

Okay, but may I offer you the utter grace of Jing Yuan, and how simply breathtaking he is with his stature, and the way his hair turns to white fire when it catches the sun and almost halos his head like a backlit cloud? Can I offer you the gold of his iris, almost metallic in nature and magnetic, too, and the way it glitters with or without light? Can I offer you the way his eye almost draws you in and it's scary, inhuman and beautiful in a way that is undeniably that of a predator's, of an Emanator? And can I offer you the way it sometimes feels like, when he's studying you, you are bared before him right down to your very soul, and you can't quite tell why that is, or if there is any legitimacy to the impression, or if it is simply the weight of his Aeon-touched gaze? Can I offer you the thrill of that shift in the ions in the air when he walks by, how it imperceptibly makes your heart quicken and your hair stand on end and you know it's not just the static but his presence, too, because he walks with such a relaxed, purposeful gait, and when he wants you to hear his arrival, you will? Can I offer you the way he smells, too, rich and warm like nutmeg and sandalwood, yet there's also a note of hibiscus in his hair? And laced throughout all that is the distinct scent of a brewing storm, though not rain, and not quite as sweet and earthy as petrichor, but sharper, the smell of wet stone, for when the Luofu was without her High Elder he became her storm? Can I offer you the melodious rumbles of his voice, almost always so soft and gentle, the kind that you can feel reverberate in your ears? Can I offer you the opposite, the way his bellows sound like thunder and seem to split the skies just the same when he roars, angered, shaking you to your bones?

Can I offer you Jing Yuan, General of the Hunt?

[sheltiechicago]

Carla van de Puttelaar for Iris van Herpen, various collections (2020).

A Major Retrospective Celebrates Iris van Herpen’s Mesmerizing Designs at the Intersection of Art, Fashion, and Science

Water, skeletons, and the origins of life usher in a major retrospective of the exquisite, otherworldly garments of Iris van Herpen (previously). On view now at the Musée des Arts Décoratifs, Sculpting the Senses is a celebration of the Dutch designer’s groundbreaking contributions to fashion, particularly her collaborative sensibilities and interest in working across art and science.

“Epicycle” dress, ‘Hypnosis’ collection (2019), glass organza, crepe, PetG, mylar. Image © Dominique Maitre

Luigi and Iango for Iris van Herpen, “Skeleton Dress,” in collaboration with Isaie Bloch, ‘Capriole Collection’ (2020)

Left: “Suminagashi” dress, ‘Hypnosis’ collection (2019), polyurethane, mylar, tulle. Image © Dominique Maitre. Right: “Epicycle” dress, ‘Hypnosis’ collection (2019), glass organza, crepe, PetG, mylar. Image © Dominique Maitre

[otherworldly-me]

I adore the look of moss agates. I like to imagine them as little pockets of forest or grassland, forever immortalised within stone. An image of a pocket dimension perhaps.

I wonder who lived in that landscape. What were they like.

[anthromimicry]

just thinking about how many 'lives' misao lived throughout the years and as a result, how many people could potentially be wondering what happened to her, because she affected their own lives in one way or another. like in one of these previous lives, she worked as a orchardist for this wealthy family whom would open up their apple orchard in late august to the public and close it in november. so as you can imagine, misao had to uhh. Kill a lot of people within a short amount of time.

and because this wealthy family provided her with housing + a paycheck in exchange for taking care of the orchard year-round, she would literally 'stock up' on what she needed for months ahead within it as horrible as that sounds. and everything was okay for a while, as the family mostly kept their distance from the orchard since they trusted misao to take care of it. BUT they made an unexpected visit one day and discovered all of the terrible things misao stored in her fridge. + yeah... that marked the end of her time as a orchardist with this family.

but the thing is that she had this repeated customer during the time the apple orchard was open to the public who like liked her. and he wanted to properly court her. BUT by the time he tried to do so, she had disappeared without a trace from the place. and just a few weeks later, that wealthy families bodies were found washed ashore a lake a couple of miles away.

and this begs the question whether this guy is still wondering what happened to her + whether she had anything to do with what happened to the couple. but this is only one example of how misao has unintentionally left little 'breadcrumbs' of her continued existence around the world, so there's got to be more than just that man who remembers her and that's like. DAMN... misao really has messed up a lot of people's lives AHHH and she is certainly not as sneaky as she believes she is sometimes

[regnumaves]

Tibarn flying with Garreg Mach Monastery in the background, commission by rohkka

[gglitchshit]

btw since gw2 incendere is mute what if ghost incendere was mute too...would be so epic and cool...

[maykrisms]

By the way, you should listen to VEGA and The Father's voices if you have not before.

[monarchialmoon]

test test test test test

tag dump!

[souldivinity]

being sick as a divinekin is so funny. what do you mean some random virus can take my Literal Angel ass out of commission for a week

[lilpomelito]

not that joe keery isn’t a very attractive man but i absolutely love the mythos the fandom has constructed around steve’s beauty like he’s somehow simultaneously the most beautiful creature you’ll ever encounter in your life and just some guy. fic writers become divinely possessed by the muses when describing this guy’s moles. i’ve never felt more secure about my own brown eyes than when i read what people write about steve harrington’s otherworldly beautiful brown eyes. he’s both unobtainable handsome and your boy next door.

[sheltiechicago]

Iris van Herpen in collaboration with Perry Hall, “Fractal Flows” dress, ‘Sensory Seas’ collection (2020), glass organza, Komon Kobo, tulle. Image © Dominique Maitre

A Major Retrospective Celebrates Iris van Herpen’s Mesmerizing Designs at the Intersection of Art, Fashion, and Science

Water, skeletons, and the origins of life usher in a major retrospective of the exquisite, otherworldly garments of Iris van Herpen (previously). On view now at the Musée des Arts Décoratifs, Sculpting the Senses is a celebration of the Dutch designer’s groundbreaking contributions to fashion, particularly her collaborative sensibilities and interest in working across art and science.

“Arachne bustier,” ‘Meta Morphism’ collection (2022), polyester silk, mylar, tulle, Swarovski crystals, embroidery thread, stainless steel. Image © Dominique Maitre

David Uzochukwu for Iris van Herpen, “Hydrozoa Dress,” ‘Sensory Seas’ collection'(2020). Right: David Uzochukwu for Iris van Herpen, “Sensory Seas Dress” and “Nautiloid Dress,” ‘Sensory Seas’ collection (2020)

[vhgr]

......what if i brought back andromache but in an asoiaf au

[regnumaves]

ooc; tag dump

[fuckyeahgoodomens]

Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather  (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 

From start to finish 

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes 

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit 

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

[hyunsvngs]

𝐬𝐮𝐠𝐚𝐫 - vampire!changbin x human!reader

wc: 3.2k

cw: vampire!changbin, human!reader, they r in love ur honour, 18+ smut MINORS DNI!!

synopsis: changbin may be a vampire with supernatural strength, but there's nothing he loves more than to let you take control.

a/n: based off of this post and this ask :3 ENJOY.... please heed the smut warnings tho!!

˚ʚ♡ɞ˚

sw: blowjobs, blood kink, petnames, mommy kink, dom!reader, sub!bin, maybe slight strength kink?, MUZZLE KINK!, dirty talk, riding, unprotected sex, creampie

˚ʚ♡ɞ˚

you can’t believe you’ve got a man this delicious. a man so pliant and malleable too despite his otherworldly, supernatural status. changbin would never use his vampiric strength on you, no - he’d much rather lay down on the bed and let you do what you want to him. 

you’d begged him to turn you when you fell in love. to be able to use your strength on him, you said, trying to convince him. he’d only retorted with a quick “i let you do what you want anyway, sugar?” and well… he wasn’t wrong.

he invited you into his home quicker than any man ever had. he sweetened you up, took you on traditional dates where he turned up at your door with a bouquet of blood red roses, and even sweet talked your mother enough that she approved of him and let you stay at his house. she didn’t know he was over a hundred years old with two pointed teeth, obviously, but what she doesn’t know won’t hurt her.

the seo estate is magnificent. the gardens are surrounded by an impenetrable stone wall, looking to be as fresh as the day it was built, and changbin has multiple bedrooms to himself. you’d gotten a bit upset - “binnie, doesn’t it get lonely here?” you said, bottom lip quivering, but he’d only slung one muscled arm around you. “i have you now, gorgeous.”

that was another thing about your man - he’s reassuring, and you always feel safe around him. you know that if you prodded at him a little more and begged him hard enough that he would truly change you and turn you into one of his own, if not purely because he cannot see spending his life with anyone else. 

he lays beneath you now, and you’re lost in your own thought with how much love you can have for someone who would be known as a creature of the night. his tummy quivers with an exhale, and you realise your fingernails have been digging into his pecs through the black silk shirt he’s wearing. he shifts beneath you, slacks tight with his erection, and you grin at his reaction.

“you like the pain, binnie?” you muse, digging your fingernails in just a bit harder. changbin whimpers, eyes fluttering shut, and you see his fangs poke out and dig into his plush doll-like bottom lip. not hard enough to draw blood, no, but just enough to the point you know he’s enjoying it. you grind your hips down and his hands fist in the black sheets on his bed. 

the candlelight flickers around you as you adjust yourself, your nightgown spilling off one shoulder and exposing your shoulder to him. when you grind down again, his eyes flutter open, pupils dilated. “i want you to tell me what you want, changbin.”

his eyes flicker to your shoulder, and you giggle when they slowly crawl up to your neck. changbin hums, fingers twitching as if they want to grab you, but he won’t. he’s a good boy. 

“i want-“ he huffs, one of his shorter, human teeth biting at his lip. “i want you. i want to- i want you to ride me, sugar, and will you let me- will you let me drink from you again? god, your blood is the sweetest thing i’ve ever had.”

“mm, maybe,” you respond, but you know you’ll let him. you just need him to beg a little bit more, sweeten you up a bit. “i’ll ride you, binnie. will you let me have your cock in my mouth first?”

“god, really?” changbin groans, eyes flickering in excitement, and you nod. your hand runs down his tummy, past the shirt and to the zipper of his slacks. it bulges out with how hard he is, and you use your fingernail to push it down, the slow noises of the unzipping filling the room.

you’re sure changbin’s going to scream if you don’t hurry up, so you’re quick to lift your hips up and pull his trousers and boxers down muscled thighs together. his cock is hard, unbearably so, slapping against his stomach and leaking against the fabric of his expensive shirt. the head leaks beneath his foreskin steadily. you want it in your mouth, but you have to make him work for it first - you wrap your hand around the base, lifting his cock off of his tummy, and then you’re stripping his cock at a rapid pace. 

“oh! oh, ah- ah,” he’s wincing, and you know it’s dry, but you can’t help but hurt your boy sometimes. tears bloom in his eyes and you can see that it truly must take his superhuman strength to stop his hips from fucking up into your fist, his hands almost tearing his sheets clean off of the bed. “gorgeous, sugar, your mouth- your mouth, please! please, fuck, i-“

changbin cuts himself off with a sharp keen when you flick your fingernail over his nipple, through his shirt. “what do you call me, binnie?”

he must be stupid with it already because he blinks at you, a tear falling down one soft cheek. he stammers a few noises out, your hand still ravaging his cock, and then it hits him. “mommy! ah, mama, mama! mommy, please, please, give binnie your mouth.”

“there you go, good boy,” you coo, hand moving from his chest to his hair. you pet just above his ear, and he leans into your touch, humming happily. you don’t comment when he turns his mouth to your palm, nipping just slightly with his teeth, but you do reward him with a soft smack to his face. “stay still. no biting, bunny.”

he whimpers when you finally begin your descent down his body. you kiss him through his shirt, and then you finally push the material up to his waist to see him in his entirety. you’ve still got a tight grip on him, and he stands prominent in your fist, his leaky tip just barely peeking out. your tongue darts to dip into his piss slit, and he really does rip the sheets a little this time, along with a strangled noise coming from his lungs.

it’s easy to deepthroat changbin’s cock. his girth is so delicious that it stretches your jaw a little, but you’re able to get his length to your throat with no issues whatsoever. you do so, engulfing his cock into your mouth, and when you start bobbing your head he’s done for. he wails with it, little murmurs of your name falling from his lips, and when you let your eyes flicker up to him he’s really crying.

“mama! oh, oh, my- binnie’s cock feels so good, mama, it’s- hnnng, oh!” he’s babbling as if he can’t believe it, as if you haven’t done this a million times, and you move your hand to his sac. his balls are heavy, full and swollen with his pending release, and you massage them with your thumb until he positively can’t control the bucking of his hips. you let him fuck your throat once, twice, and then you slap his balls hard. “sorry! sorry, mommy, binnie’s sorry.”

you let his cock slide out of your mouth, and it lands with a wet slap against the thatch of curly, pitch black hair at his base. “i said to stay still, bunny,” and your voice is hoarse, but he nods, chin quivering.

“‘m sorry,” he mumbles, and you can see how his cock jumps with his nervousness. “will you- will you still let binnie drink? and ride me, and-?”

“and what, baby? cum inside me?” you tilt your head to the side in question, and you swear you see changbin blush. he nods, bottom lip jutting out, and you can’t help your laugh. “we’ll see. be a good boy for me, okay?”

he wasn’t expecting you to move up his body again, but he’s pleasantly surprised when you pull your nightgown up. the white satin remains on your body, just barely held up by the curve of your hips, and you hold his cock upright. you’re soaking wet between your legs, and changbin moans out when you run his length through the folds of your pussy, just barely catching on the swollen bud of your clit.

“binnie,” you say, breathless. “binnie, tell me how much you want it.”

he’s instant with his response. “so bad! so bad, sugar, feel how hard i am? binnie’s that hard just for you, will you let me have it?”

“just for me, mm?” you ask, and he nods. you lift up just a tad, holding the hem of your nightgown up, and then you’re sinking down onto his cock in one go. his girth stretches your hole beyond belief, even with the added thickness. when he bottoms out, your toes curl, his cockhead resting in that one gummy place inside you that he’s taught you to love. “ah, there we go. that’s good, yeah?”

“s-so good, mama,” his voice is choked, and he lets his eyes flutter shut again. “so good. tight pussy, ‘s so good.”

“it’s all yours, baby,” you moan, and he nods frantically. you’re quick to start moving your hips, too horny to keep the facade going, and changbin’s hands move to grab the pillow either side of his head. your ass slaps against the tops of his thighs, wet noises ringing throughout the entirety of the stone-built room - and probably further out in the estate, but you can’t fathom the concept of changbin’s groundskeepers hearing anything. at a particularly well-angled bounce of your hips, his cockhead rams deliciously into your g-spot, and you know you’ve cracked it, continuing your grinds in that exact position. 

“is it good?” changbin asks, breathless, and he finally opens his eyes. his eyes land on your tits, bouncing in your nightgown, and he shuts them again as if he’s been branded with a silver cross. “sugar. i can’t even look at you, i’ll bust.”

you giggle, leaning forward to grip onto him for purchase. your hands land on his pecs again and you whine when your clit grinds against his pubic bone, fast and feverish, and you don’t reprimand him when his hands finally move down to your ass. he’s held back for so long, and you both know that it’s only so long that he can take not being able to touch you.

“ah, that’s so- fuck, binnie,” you moan, teeth digging into your bottom lip. you’re reminded of your previous plans when his fingernails scratch at your ass, his back arched like a cat. “mm, binnie? y’wanna taste mommy?”

in any other situation with any other man that would have completely different connotations, but changbin knows what it means. he shoots up into a seated position, eyes half lidded, and his head darts to the juncture between your neck and your shoulder.

“c-can i, mommy?” he questions, moaning when your hips grind down on him harder. “can i, please?”

“more, binnie,” you respond, and he knows what you mean. his tongue laves over your neck, and then he places a wet, open-mouthed kiss over the column of your throat. that’s where he’s going to bite you, and he’s tenderizing you like something he’s going to eat. you suppose you are.

“mama,” he whines, long and drawn out. “let me taste you. please, god, i’m thirsty, mama. let me, please?”

you sigh with your pleasure, and you finally halt your hips, stopping the boy underneath you from being jostled too much. his hands knead at your asscheeks while you pretend to deliberate.

“alright, honey,” you coo, voice soft. “you can bite.”

changbin’s fangs protrude from his mouth, and then he’s biting you. it’s slow, the way his teeth begin to bury themselves into your skin, and the moan he lets out is high pitched. changbin’s always messy when you let him do this, and despite the fact he starts to drink your blood instantly upon it hitting his tastebuds, it’s already started to drip down your shoulder. 

you pick the right time to start moving your hips again. he’s sighing and moaning as he drinks, and you begin a slow grind on top of him. changbin’s cock positively throbs inside of you, and you clench down approvingly, making him grip you just a bit tighter. 

he drinks and drinks until you’re lightheaded with it. when he pulls away, you’re a little dizzy, but not enough so that you can’t take in the sight of him. his chin and lips are covered in bright red blood, and it’s dripped down to your white nightgown and stained the fabric a dangerous colour. changbin moans in approval when he sees it, and his mouth goes to your nightgown to try and lick the excess up messily. fortunately for you, he licks over the pebbled peak of your nipple, and he’s fixated on it as soon as he catches it. 

the nightgown becomes drenched with not only your blood, but his spit too. he doesn’t let up, swirling his tongue around your nipple through the fabric, and you’re left to run your fingernails through his hair teasingly. he whines against you when you pull his hair back to your neck, before he’s quiet, lapping at the two pin prick holes in your skin soothingly. something about his venom over the wounds feels euphoric, and you can’t help yourself when you push him back down onto his back to ride him hard.

he looks debauched. his eyes blaze a crimson shade with his feed, and your blood is smeared all over the bottom of his face - streaks adorn his sharp chin and his fangs look like they’ve been dipped in it. he licks over his upper lip with a grin, and you can’t help but to smile back before you’re bouncing.

“fuck yeah! yeah, mama, yeah, ride me,” he murmurs, eyes flickering over your body like he can’t believe you exist. you can’t believe he exists, but you know you must look the picture of his wet dreams in your nightgown. the fabric over your breast is so drenched it’s see through, and your blood still drips a little bit from your neck. in the middle of grinding on his chubby cock, you let your thumb collect some of the red liquid on your thumb, and you press it into his mouth.

changbin whines. his hands move to your waist and he sucks your thumb like he would your strap, moaning around it like it’s the best thing he’s ever had past his plushy lips. you fuck the digit in and out in rhythm with your pace on top of him, and his cock leaks inside you so warm you feel it, flooding your gummy walls and leaving you breathless. 

with a strong grind on his cock, changbin’s fangs nip at your thumb, and you have to pull your thumb away for another little love tap on his cheek. his eyes roll back into his head, and you giggle. an idea hits you, and you know you just have to do it.

your hips halt, and you grab changbin’s curls tight, pulling his head back. “i think we better get your muzzle, bunny.”

“no! no, you let me drink, what- why?! why, why?” he wails, but you know he enjoys it. he just likes kicking up a little fuss when you get mean like this, and you ignore him to reach into the bedside table to grab the offending item. it’s only small, covering the bottom half of his face with black leather and miniature metal bars over his mouth, but changbin cums his fucking brains out every time you equip it over his gorgeous face. he’s still babbling when you loop it over his curls, pulling the strap tight and letting your pussy clench down at the sight of him so submissive, so pliant. 

“mm, that’s it. stay there like that, that’s it,” and you lean back, hands gripping his thighs. you’re feeling a little lenient, so you let changbin push your nightgown up with calloused palms and watch the space where his cock enters you over and over. he’s going to cum soon, you realise, and you’re going to have to make the most of the time you have right now. changbin snaps his fangs at you as if he’s a puppy about to bite, and you clench down on him with a sharp keen, pussy gushing down to his pubic hair. 

you reach around yourself with one hand, fingers rubbing messily over your clit, and it makes your pussy tingle deliciously. changbin’s still making strangled noises, legs thrashing behind you, and you can hear him mumbling quietly.

“please, please… let me drink again, sugar? mommy. mama, please, please-”

his hips cant upwards and you jolt. your pin prick wounds on your neck are healed from the after effects of changbin’s vampire venom, but you flick your fingernail over it, causing the wound to start oozing crimson essence again. changbin’s nose scrunches up beneath the muzzle as he inhales, and you wipe your hand over your bloody skin before you’re just barely letting your fingertips slide through the metal bars on his restraints.

“s-smell it, changbinnie,” you coo, chest heaving with a flush as you get closer to your orgasm. your hand speeds up on your clit when he nips softly at your fingers, and when he cants his hips up again he’s flooding you with hot cum. his own chest heaves as he cums, cock throbbing inside of you, and you whine. 

“fuck. fuck, sorry-”

“stay fucking still, bunny,” you groan. “you better not go soft on me. make mama cum, c’mon.”

and he does. he wraps his muscled arms around you, the material of his shirt scratching against your nightgown, and then he’s thrusting into you. it’s awkward, and he’s only half hard, but the show of strength is the only thing you need to push you over the edge. you shake and gush through your orgasm, arms moving to wrap around changbin’s neck, and you feel his chest rumble with a groan as he feels you throb around him. 

when you flop off of him, pussy messy and swollen with your sex, he stretches with a loud groan. you huff in response, and he sniffs. the unspoken communication makes him let out that loud, affectionate laugh that you love.

changbin’s out of breath next to you, limbs akimbo, and you giggle at his soft cock resting against his pubic bone. you pull the straps of his muzzle loose and let it drop onto the pillow, and changbin grins at you.

“the muzzle was such a good idea,” he says, elated, and you let him push himself into your space and lay his head on your chest. your nightgown is still covered in blood and his spit, but he doesn’t care, making little happy noises against you. “i love you, yeobo.”

you can’t help but smile, sated. “i love you too, changbinnie.”