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prael · 9 months

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pas de deux - IVE An Yujin (ft. Jang Wonyoung)

Part 1 of folie à deux.

Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6

18+ An Yujin (and Jang Wonyoung) x Male Reader smut

Masterlist Word Count: 7,727

folie à deux - folly (madness) of two pas de deux - a dance for two

It's survival—that's how you mask it.

It's the hard reality you tell yourself to justify being the pseudo-servant to these two girls, just to make the year as easy as possible so you can graduate. Playing their games. Never questioning their words or actions. The house of cards they've built is fragile but they keep it in check.

Somehow, you're one of the cards, one wall of the house. You've only been in the school a month. The fresh-faced transfer who fell into the grasp of the two girls who practically run the place. You can't deny it has its benefits. Like every one of Yujin and Wonyoung's friends, no one ever questions anything and you would never run the risk of falling into the bad books of school bullies.

Oh, and you also get to fuck Wonyoung senseless.

Luckily, the walls of the library are thick, everyone else is in class and the library door is locked. Or someone would have heard the squirming Wonyoung moaning expletives by now.

"Harder." Her nails threaten to pierce the skin. Claws gripped to your forearm. Her words are sharper still, cutting through the air with the same lethality as her looks. "Stop, stop, stop. Hand, there. Circles, remember. And go fucking harder will you?" You position as instructed, how you know she likes it. There's no room for creative freedom here—it's Wonyoung's way or it's no way.

But, god. She knows exactly how to break you—just enough that when she puts you back together, your mismatched pieces slot perfectly into her shape, allowing her to completely mould and manipulate you at her will, at her whim. And oh, does she love when you let her.

"That's it, there. Yes!" Wonyoung presses the heel of her foot into the small of your back, pushing you further in, urging you closer and deeper, drawing a hoarse groan from her throat. She's sprawled flat on the desk, on the second floor of the library. You're looking over the balcony, down at the empty room. It's almost monotonous, it happens at the same time every week. Hidden in the same top corner of the same library, at the same time on the same day. You've got her legs spread and your cock in her cunt.

Your fingers are digging into her thighs, pinning her hips to the desk. You don't falter once, going exactly as fast, exactly as hard, and exactly as deep as she likes it. Her movements are in tune with yours. Familiarity. Wonyoung's perfectly groomed eyebrows are furrowed, heart-shaped lips pursed, eyes scrunched shut.

"You're close, right? I can feel it..." Your words come out ragged and laboured. This isn't supposed to feel good for you, you aren't supposed to have an opinion. It's her own fantasy—an excuse for her to let herself get fucked like a little whore without question or consequence—your body's just along for the ride. You're not an actor in the scene, not a participant. You are the means to an end; a character-prop. Something to be used by the main character. To further her plot.

She responds with a shaky mewl that turns into a string of frantic cries, her slender, legs locking around you.

It ends how it always ends.

She cums. Hard.

You don't. Too messy, she says. You can't cum inside, you can't cum on her and you can't just cum on the library desk. Too risky and unhygienic. It's almost cute watching her try to cover up her gasp and squeal as she rides her high, biting down onto her soft sleeve, probably tearing through a layer of fabric with her pearly whites.

That's just how it is with Wonyoung.

***

"There you are!" Yujin is by your side and snaking her arm around yours, holding you just above the elbow and leaning against you. "Where's Wony?"

"Probably halfway down the highway by now, her boyfriend picked her up fifteen minutes ago," you explain as if it's the most normal thing in the world that Wonyoung hopped off your cock and into her boyfriend's car in the space of ten minutes. But that’s the life she lives—you live.

"You can take me straight home then, let's go." Yujin smiles up at you with her signature grin and those half-moon eyes. If Wonyoung were the definition of danger, Yujin was still just that, but wrapped up in cotton wool and given to a puppy. Her playful expression could melt even the hardest heart, and yet, thanks to her money, she too could get away with just about anything.

At least Yujin made your life easier. There was a little more give and take in your friendship—unlike with Wonyoung.

Still, you wonder exactly how the two of them do it. The whole school around their little fingers. The teachers—they overlook Wonyoung's little indiscretions as soon as the excuses leave her pretty little mouth, so convincing is her act. And then there's Yujin, she—

"You bitch!" In sync, you and Yujin look away from each other and towards the two young ladies holding each other by handfuls of hair. You don't know either of them, but they are blocking the way to your car.

"What's going on here?" asks Yujin, speaking louder than normal to ensure that her voice breaks through the constant bickering. The voices quieten and the hands release their grips, albeit somewhat reluctantly.

The pair turn to you both as they both speak at the same time. "This whore took my earrings!" One points at the other.

"Yeah? These are my earrings. How dense can you be?" one fires back, clearly pissed off, making exaggerated hand gestures for emphasis.

"Bitch, they belong to me! Stop taking things that aren’t yours, you slut! This is you and Jisun’s boyfriend all over again!"

"Ladies, please," Yujin says calmly, in just those two words she captivates attention. "You girls are friends, right?" She doesn’t give time for a response. "Well, if you're really friends, you'll sit and talk about this instead of pulling each other's hair. And if I'm being totally honest, those earrings don't exactly look worth the effort."

They lower their fists slowly, looking a little less angry now and more embarrassed to be told off. You half expect a little, "yes, mother" and an apology from them.

"Great!" Yujin says after some silence. She tugs gently on your arm, strutting between the two girls with you in tow. They stand and watch as you pass by. You only get a step or two past them before Yujin stops.

She turns to face the girls, still staring wide-eyed at the two of you. "Actually, aren't you girls forgetting something? You owe us both an apology."

The two exchange glances, looking surprised by the statement. "Wh-what for?" one asks, eyes darting nervously between you and her friend, who seems equally puzzled.

"For being in our way." The pair look around and suddenly notice the small crowd around you, phones pulled out, cameras glaring. They pale almost immediately. And you can see that they know this only ends one way. Because no one says no to Yujin.

The girls nervously get down on their knees and bow their heads. "I-I'm sorry!"

"We're sorry!"

"Excuse us!"

"Please forgive us!" They're flustered, apologizing to you and Yujin as though their lives depend on it. It feels like forever has passed when Yujin finally laughs and turns away.

"Have a lovely evening, ladies," she says in a tone sweeter than sugar, leaving the girls kneeling and guiding you again towards your car.

For all intents and purposes, these two girls are fucking crazy.

Delusional.

folie à deux

***

"You will stay and eat. I insist." It's ever so clear where she gets it from. Just like his daughter, Yujin's father simply would not take "no" for an answer. You know that really, you have no choice but the lock the car and follow Yujin up the steps into her house.

"Make sure our guest is comfortable." He glances at the maid to signal her. You notice a flinch, though only passing—the girl is nervous. No one can relax when they're in the presence of an Ahn. After his instruction, he walks into the door without another word.

You make the climb Yujin had not two minutes earlier, up the stairs and into the front door of the house, through the door left open, which the maid closes behind you.

The mansion's interior is exactly what you expect—luxurious, opulent and vast. But where you thought there might be a hint of the gaudy and tacky, there is only tasteful, expensive decorating, the finest of furniture, and grandeur befitting the family who owns it. As always, there's not a thing out of place.

Yujin's at the top of the stairs. She has already swapped out her formal blouse for a comfortable t-shirt, but she still wears the pleated skirt she did before, sitting just above the knee. "Couldn't escape father then? I think he likes you."

"He doesn't show it if he does." You shrug.

"He didn't wave you away without a word. That means he likes you." Yujin speaks as she walks down the stairs towards you. Off somewhere to your right, you hear the busywork of the kitchen, preparing the food he insisted you eat. "It's funny because I can't think why..."

She mocks you in the way she always does, with a grin on her face.

"It must be my wit, charm, personality, and incredible looks," you tell her with a wry smile.

"Huh... I didn't know my dad was gay."

"Shame he's not really my type." It's your turn to grin now.

She rolls her eyes. "Yeah, that's an understatement. I know your type."

"Maybe you do," you say while climbing the stairs to meet her at the top.

She stares you down for a moment and you wait for her latest quip. She eventually looks over your shoulder, down the stairs to the maid. Yujin informs her, "We will eat in the upstairs lounge."

***

"And Gaeul, did you hear?" Yujin can barely contain her excitement as she slams her chopsticks on the table. The conversation had been flowing for a while now, mostly from Yujin as she fills you in with all the recent gossip on people you barely know.

"Which one is she again?" This one you already know, but you always enjoy the way she describes and introduces her friends. It’s so often so unserious.

"Kim Gaeul, the one in my dance class." Yujin pauses. Her eyes roll. "You know the one. Short hair, even shorter skirt. Cute smile, even cuter ass?"

That would probably narrow it down.

"Okay, but what about her?"

"Well you know that guy she's dating? The German guy?" The love lives of Yujin's friends are a bit of a blur. The more you hear about them, the less sense it all makes. "He proposed!"

"They are that serious?"

"Very! I guess it was love at first sight. Gaeul certainly saw something she liked."

"They're still young. It's a big commitment."

"But, if you want something, you should take it," Yujin affirms.

"Just like a criminal," you joke.

Yujin giggles. Something is charming about Yujin's laughter. There's an innocence and lightheartedness to her that brings you a sense of tranquillity. Suddenly, a weight rests on your shoulder. A chin nestles into the side of your neck. Warm, moist air fills your ear, "Maybe you could learn a thing or two. Life's too short to wait around and hesitate."

The weight and air vanish, and suddenly you feel cold. Yujin's French perfume lingers in your nose. "And it's good for her right, she must be getting fucked a lot." Yujin continues as normal as though the moment never happened. She picks up a piece of meat between her chopsticks, taking care not to get the sauce all over her. She brings it closer to her lips, smiling ever so slyly the whole way.

Yujin takes a drink before she continues, “and so Rei said to her that…”

She continues onto rest of the story and the many more after which you don’t really pay attention to, the moment before still lingering on your mind.

***

"As delicious as always." The two of you had spent at least an hour in the upstairs lounge, eating as you talked, catching up with events, and then talking about nothing in particular.

The maid bows at your compliment before taking away the tray of leftovers and leaving the room.

Yujin lay her arms over her chest as she leans back into the couch. Her eyes roll as her head falls to the side, staring over at the bookcase behind you.

"I hate reading." You can hear her disgust in her tone. "Dull, pointless, useless, boring..."

Yujin stops, eyes fixed upon you. Her eyebrows pull together with curiosity. "But you must love it, right?"

"There are worse hobbies."

She gives a thin-lipped grin, unconvinced. Yujin tilts her head to the other said, hair thrown over her head to settle on the other side, "do you, though? Because you and Wonyoung spend a lot of time in the library."

She knows. Of course she knows.

"Just studying." You smile weakly and give an awkward laugh, running your hand through your hair.

"Wonyoung doesn't study." She says that flatly, cutting the air. Yujin may well be the only person in the school who dares to question the actions of her best friend. She has no interest in playing along with the lie.

You sit in silence. Any excuse would only be an insult to her intelligence.

"You're lucky really," she muses, her fingers absentmindedly tugging at the frilled edge of her skirt. Yujin makes a conscious effort to cross her long legs, exposing the small expanse of creamy flesh where the skin between the hem and knee socks met.

"Why is that?" you ask, with eyes fixed firmly on the tantalising flesh.

"Every other guy in school would kill for an hour alone with Wonyoung." Yujin purred.

"A bit drastic. They want what any young, single man would want."

"Hmm, those poor things are a second away from cumming in their pants just being in the same room as her."

Yujin gave a delightful, innocent-girl smile, contrasting with her crass language. She wore her angel-like grin with a devil's look. "Not you though. Which is exactly why she wants you."

"Why?" Your eyes flicker to the floor, away from Yujin. The thoughts circle.

"Like I said: they're far too eager for her to respect them, but not you. No." She spoke clearly, firmly. "The way you stare at her, it's almost as if you don't care that much for her."

"Not sure I understand. She is a friend, I care." you admit.

"But you don't beg it like the other boys do. She must find that attractive about you, not being desperate, but still willing." Her legs uncross slowly, tortuously so, pulling her legs apart ever so slightly. She smooths the crease of the pleats over her thighs.

You sense a chance to turn the wind and sail the conversation in Yujin's direction. "What about you? The one boy from art class seems really desperate to get close to you."

The vaguest flash of surprise came across her eyes, as if you'd interrupted her. The shock passes.

"Ah. Him." She rolls her eyes, puffing her cheeks as she does. A disgusted grimace mars her angelic expression.

"He's into you." Who isn't?

"I can tell. Not my type." She waves dismissively, having no need for your words. "I can," she pauses over her words, "take care of myself."

A creeping heat climbs your spine. "Really?" Your question sounds more curious than teasing, though your tone carries more than a hint of amusement.

Her slender shoulders shrug ever so casually. "Of course I can. Everyone needs a little," she purrs the next word, "dissipation."

It is the wording more than anything that draws a pensive mood. Yujin said it casually enough, with her fingers absentmindedly pressing up and down her exposed leg, almost as if the mere thought of it was enough to excite her. Her gaze glazes over at some unseen memory, and she gives a knowing smirk before her thoughts snap back to the real world.

"Yujin, I—"

She cuts you off, "there are so many, too many, horny boys in the world, but so few are dependable." The hand tracing her thigh edges just a centimetre further upwards, folding the pleat under the touch. "it was nice to have you here for dinner, but I have something I need to do."

"Are you expecting me to go so that you can...?"

The smile spreads from ear-to-ear across her face. "I'm not saying anything. But you know where the door is." She rises from her seat, a perfectly poised princess, and moves gracefully towards the door. Her body swaying under her baggy shirt and flowing skirt.

She doesn't give you time for a reply.

You're left alone with only the dying embers of her expensive perfume.

***

Class finished early and you're waiting. As you always did when you finished before the girls.

However, this time is different. You haven’t seen Yujin all day and aren’t sure how to act when you do. Not after what you saw yesterday. You lean back against your locker, streams of people passing by. Most ignore you, or the few that acknowledge you pay only a glance or two before continuing.

"Hey, Gaeul," you call to the one girl you recognise passing by, "have you seen Yujin?"

"Bro, she left already." You don't know when she started calling you bro. Maybe she always had. Could be part of her friendly nature. Gaeul is about as easygoing as they come.

"Is something wrong with her?"

"Nah." A gap appears in the crowd and you move to join her, heading out of the building. "You know how it is. If she wants to leave five minutes early, no one will stop her."

Another student cuts between the two of you, forcing you towards another group that blocks your way. You spin away to avoid them, manoeuvring through like a speeding car on the highway, catching up with the on-rushing Gaeul.

"And she didn't say anything?" you ask when finally back by her side. Gaeul's looking at her phone—probably reading a text from her husband-to-be.

"Hm?" Gaeul throws a glance out of courtesy. "No." she mutters before replying to the text.

"Nothing?"

Gaeul opens the door to the outside and you follow her through. She's striding like a girl with places to be, so you have to half-jog to get back by her side.

"Oh! Yujin did tell me to tell you something, actually. She said, tell him to act like a criminal. Whatever that means."

Act like a criminal.

"Thanks Gaeul," you speak quickly, diverting towards your car.

"Bro! What does it mean?" Gaeul calls after you but you don't wait around to answer.

***

The maid is there to greet you when you knock on the door of Yujin's house. Apparently, Yujin is waiting for you upstairs, and after letting you into the Ahn house for the second time in as many days, the maid disappears again into the background, leaving you to explore.

You see, yesterday ended almost unceremoniously. You stayed for dinner, you ate, talked, laughed. And then you left.

Except, it wasn't actually that simple. After Yujin left the room, you held around for a minute, finishing your drink. The ice-cold one in the fancy tumbler. Taking in the room around, as for all the time you had spent in there, you were more focused on Yujin than the exquisite decor. You admired it for all it's worth and savoured your drink until you decided that you shouldn't overstay your welcome.

It should have been simple. Walk to your car, get in, and go home.

Until you walked down the corridor and found a door ajar with the smallest of gaps. You leant gently against the frame, peering in just enough to give you a view of the bed.

On the bed was the girl you expected to find. On the bed was Ahn Yujin.

The curtains were closed, but enough sunlight managed to peak through. Light bounced off the soft skin. Each breath sent her chest swelling. You followed every rise and fall with hungry eyes.

With the afternoon sun kissing her flesh, highlighting the curve of her shoulder and collarbone, she looked even more heavenly. She wore her short hair wild, swept back and almost messy. And that's all she wore.

Her clothes discarded. A crumpled heap just beside the bed. And yet, there was a strangely intimate beauty in their chaos. As if she had just stumbled out of them in some urgent and carnal heat.

Her entire being had been shaped into perfection, carved from a block of ivory, her delicate fingers, smooth legs, slender shoulders and bare chest roseand fell with the soft inhales of breathing.

It was not the Yujin you knew; there was no hint of her elegance and poise. Here only lustful indulgence. A reckless hedonism that wanted no secrets to be kept or questions to be unanswered. Her body lay free of the bounds that normalcy imposes, inviting you to admire what she kept concealed, every precious curve and secret corner of her immaculate skin, every beautiful mark and blemish, that, in itself, was a testament to the humanity that lies just under the surface of such sublime beauty.

There was no doll, nor porcelain queen. No statue of stone or plaster. Instead, she was living, breathing, moving and feeling. Each touch was electricity. And her eyes said it all.

There was woman—in its rawest form.

And you had stood. You had stared. For as long as you dared. Until you tried to tear yourself away. You could not deny your perverted mind that moment of indulgence. And indulge you did, right up until the fear of being caught overcame you.

It should have been so simple. Walk to your car, get in, and go home.

For the last twenty-four hours, the image plagued your mind. You were consumed with her. With the idea of her. Of what she had done, of what could have been had you dared enter her room. And the guilt alongside it.

And now you're here, a day later, walking back to the scene of your crime. The door is ajar again, a few feet ahead. You push lightly, gently, inch by inch. Your breath held and the anticipation thick, clouding your mind and filling every thought, not of anything other than what you might see behind that door.

And then it comes into view. The bed and the disappointment.

A bed perfectly made, and decidedly empty.

You realise your folly—thinking, hoping, expecting the same sordid sight as before.

"I was wondering if you'd turn up." Her voice comes from behind you and her tone is low, hushed, and seductive. Every word tingles down the spine. Her fragrance arrives a beat ahead of the girl herself. "Did you get my message?"

"Yeah, about being a criminal," you answer as innocently as you can manage, still recovering from the shock.

"Exactly. As criminals, we take, without question, what we desire," Yujin whispers the last few words in your ear, a heavy, breathy tone that takes any resolve left in you and melts it before it's even fully formed. Her scent surrounds you. It overwhelms you.

"Yesterday, what you saw me do," she begins, her fingers reaching for your arm, gliding gently and purposefully, drawing slow patterns with a single nail, "you had the decency to resist temptation, but I don't want that." Her fingers grip your forearm tightly.

"It doesn't matter why you resisted. All I know is that you watched me... touch myself, pleasure myself. Do I turn you on?" She knew damn well the effect she was having.

You answer her question with another question. "Yujin, what are you playing at?"

"You're smart. Don't you know how this goes?" She steps, smooths around the shape of you, and into your field of vision. "Don’t you know why you’re here?"

She raises her arms slowly, making a show of her body. With all the possible casualness, she smooths her hands up her sides, slowly, passing her stomach and onto her chest, and gently caressing. A shirt clings to her slim frame. The thin fabric is practically see-through, clinging to every delicious curve. The bottom few inches lifting, revealing flesh and the lines of lace trim on her matching her cream panties.

"I can't fight it, Yujin." Your hands find their way to the curves of her waist. She wriggles under the touch, happy to have the reaction she desires.

"Fight what?" She smirks, clearly amused by your confession and how easily you give in to her. Her hands roll gently across her breasts.

"The alarm in my head saying it’s a bad idea."

"Don’t fight it. Because I'm really, really hot," she whispers as pulls her top up her body. It rolls over her head and flops to the floor and you marvel, breathless and hungry, at the expanse of silky skin and feminine curves.

Her hands stroke at your crotch and she laughs softly. "Hard already?"

Her fingers curl and squeeze around the outline. She gives an approving smirk at the way it twitches under her touch, even as she mocks its hardness. "For me, huh?"

You nod, and she smirks. You move your hands up her body, but just as you begin; she twists free and walks towards her bed.

"Go, stand." Yujin points at the centre of her bedroom, towards the foot of her bed.

The carpet beneath you is soft, and you're barefoot. Walking. Watching. Eyes never leaving Yujin. Her bare thighs, defined, slender and soft. The curves, so gentle, and her accentuated hips. Her round, shapely behind, cradled so perfectly in tight-fitting panties. You have barely reached your position when she looks at you from over her shoulder and wiggles her panties slowly down her legs and leaves them on the floor.

She's crawling on the bed. You can't move—you barely manage to breathe. Each breath burns your throat. You're motionless, speechless, hypnotised in awe at Yujin. As requested (perhaps ordered) you remain. Watching from afar. Yujin seats herself on her bed with delicacy, her knees pressed together.

"I have to be honest with you," she confesses. "I'm not going to fuck you. But you can help me. If you're willing, that is."

"Anything" is your reflex response. You're powerless. She has you in the palm of her hand, and the growing ache in your groin, which was eager to be free of the confines of your pants, only affirms your thoughts.

"Are you sure?" Her head tilted to the side, teasing you with naivete. Yujin laid a single, slender finger on her lip and pulled it down suggestively. "If you come over here," Yujin insisted, her free hand parting her knees and patting the bed between her thighs, "then we could help each other."

There's a flurry of activity. You pull off your shirt and leave your trousers behind. Now you're kneeling across from her.

"Watch me. Just watch." Her voice is softer now, sultry, as her fingers ghost down the column of her neck, along her collarbones and then tracing the curve of her breasts, with the lightest grazes against her nipples. Her eyes fall closed as she carries on tracing feathery touches on her torso.

To be here now is all you could have wanted, really. If anything is happening beyond the sound of her shortening breaths and soft hums and her hand snaking between her legs, it's beyond your awareness. Yujin is shifting in front of you, wiggling and squirming; biting at her lip until it reddens and fills; gasping at the gentle caress of fingertips sliding slick against the smooth lips between her legs.

"No touching, just look." As if to drive the point home, her gaze holds on you for a moment, her lips curling into the sweetest smile. As a reward for your patience, her eyes grow warm and welcoming. Her legs spread wider, and Yujin hums. Her touch builds slowly, making small circles. There's no sign of urgency to her actions, none of the frustration that Wonyoung showed when waiting for her release. But Yujin isn't simply touching; it isn't about release. She's revelling.

Her breasts move with her heavy breaths. Her body trembles; her legs shake. She leans back slowly, taking support from her elbow, exposing herself wholly to you, with her head pressing back into her pillow, her hair sprawling in a mess and her pink lips slightly agape as her mouth shapes sounds that die as quickly as they're born.

"Yujin, I..." You lean forward onto your knees, placing an arm by her hip and another by her shoulder. You're hovering over her. Watching the display before you in stunned silence.

She grabs a handful of her tit, squeezing and moaning. "Keep talking," she breathes, her lips still quivering.

"I want you so bad."

She presses harder and slides her finger a little lower, dipping inside her cunt. Her other hand goes to your arm, then strokes over your bicep up to your neck. "You can do better than that." She whispers, wrapping her hand around your nape.

"How could I not want you?" Your knees are between her legs, you lower yourself closer without breaking her rule. You do not touch. "Not when you smell so enticing. Or sound so delightful. Or look so stunning."

Her mouth opens, panting breaths and half-uttered sighs fill the air. "And?"

Strands of hair fall over her face, you bring a hand up and hover it near to them, seeking her approval. Her eyes dart to your hand and consider it for a moment before giving the gentlest of approving nods. Your hand brushes the strands to the side. Her cheeks are bright and rosy, her skin damp, moist with perspiration, though still like silk to touch, you discover as you run a finger down her cheek.

"And when you look at me... with that smile. You have such a cute smile, like right now, that innocent—"

"Shut the fuck up and kiss me."

You oblige. Yujin rises to meet you. And you take her in a hungry kiss. She falls back against her pillow. You slide a hand around her thigh, gently holding it against yours. The sensation of skin on skin is electric.

"M-more. Give me more." Yujin demands, and you give her thigh a squeeze in agreement. Your hand moves to her ass, giving the swell an approving touch, caressing the skin, and kneading ever so slowly.

You watch her, in the dimness between kisses, studying her delicate expressions and tiny reactions and all the while you enjoy the feeling of her pliant flesh beneath you.

This goes on and on. The kissing. The touching. The moments of separation. When Yujin pauses and lays her head down, catching her breath. A few heartbeats pass, she opens her eyes and watches you. Languidly, she smiles and beckons you to lean closer, to hold her again and taste her sweet lips once more.

The dim, orange sunlight of early evening has long since faded. A soft, blue light envelops her bedroom. As the minutes passed and the two of you enjoyed each other's touch, Yujin never stopped. Never stopped her hand buried between her thighs. And this time your kiss broke by the jolt of her head, thrown back into the pillow. Her neck is at full stretch and her lips agape.

No moans come from her mouth. Instead, her breath hitches and holds. She freezes like this, under the moonlight piercing between the curtains. Reflecting from her skin. An image of pure beauty. Unadulterated pleasure.

Her eyes remain shut, but a beaming smile grows.

Finally, she sighs deeply and lets out her last shuddering, shaky breaths. She rises again and searches your eyes with her half-open ones and smiles once more.

"That was perfect," she murmurs, satisfied, as she lolls back into the pillow and rubs her hand—the hand covered with her cum—over her heaving, sweat-slicked chest.

You can only admire as she rubs her hand over her tits, smearing them with a mixture of cum and sweat. And when she's done, she lets her hand fall beside her head, the other resting on your shoulder.

"What are you thinking?" Her question came slowly, her speech still languid.

"How amazing you are."

Yujin smirks before stretching, arching her back from the bed, thrusting her tits at you. "You've probably thought that a lot." She's hot, and she knows it. "Anything else? With me here like this?"

"Your body is better than I imagined. Perfect."

Yujin brings a hand up to cup her tit, as if offering them up for you. "Glad you think so." The next word was a demand, "Taste."

Her chin tilts down and her gaze lifts. Her eyes watch curiously as your head dives to her chest. The most overpowering thing is the smell. The combination of her rich perfume and the scent of sex.

"That's it. Let me guide you." Yujin reaches round, holds the back of your head, and pushes your lips on her nipple. She giggles as you suck greedily, nibbling at her and lavishing her flesh in sloppy adoration. Yujin's skin glows a hue you'd never seen before. And tastes a taste so sickly sweet that you swear is so addicting that as a second becomes a minute, your tongue would never tire.

"Good." Her voice is soft and doting, but her breath catches for a brief instant as you roll your tongue over the swollen peak, drawing a tighter grip on your head. Her hands bury into your hair, her nails against the scalp. She pulls at you, guiding your tongue across her chest.

Yujin whines. And for all the sounds that you've heard today, there is none so sweet, nor one that cuts so deep as when she pulls you away. "God, I feel so sexy now."

Yujin lets her leg rub up to yours. Gyrating gently and grinding your thigh with hers, she works herself closer. Then her legs curl, capturing you and holding you. Yujin raises up so her face is millimetres away, whispering into your lips, "You don't even know what a turn-on you are right now."

She guides your hand with her own, down between her thighs. And she rubs your fingers up against her slippery opening. "Feel that? That's for you, and I can't wait any longer." Her eyes fall closed and her forehead rests against yours.

"I want to fuck you, Yujin."

"We aren't going to fuck." She punctuates each word separately but speaks without anger. Her tone is honey. It's dripping with lust despite the coldness of the words. "But I am going to let you cum now."

Her hand leaves your own, leaving your fingers pressed against her cunt. Both her hands now. Both against your body, rubbing at your chest and working their way down. Yujin's got a devilish, vapid expression. An insufferable confidence.

"And maybe this is selfish, but," Yujin grins wickedly as her hand takes a fistful of cock. "I'm also going to get off to watching you blow a load."

Her thumb, smeared in her arousal, rolls and drags. It's a wicked gesture that plays you like a marionette. Yujin draws her wet thumb up your length. The pressure and tension are enough to bring your breath hitching.

"It'll be huge." You lean into the feeling and whisper hotly. The heat building between the two of you is dizzying. She wraps her fingers around the base of your cock and squeezes firmly, jerking her hand up to the head.

"Good." The word escapes her parted lips as she takes the first full stroke. And then she doesn't stop. Her fingers tighten and the movement is repeated, finding a quick rhythm that you follow along to.

"Touch me," Yujin orders again. She looks down between your bodies, the tangle of arms, where she strokes your cock rhythmically. Using her other hand on your wrist to push you into her. Two fingers. That's what you give, gently stroking down along her cunt. Two fingers inside and curling up slowly inside her. Your hand pressing against her cunt, palm rocking against her clit. "Keep doing that."

You follow along. Obeying her directions and fulfilling her commands, making short little motions between her legs. You've watched her cum once and know exactly how to bring her there again. You push further, probing deeper, massaging the hot slickness. And you must be doing it right. Her grip on your wrist slackens and her body collapses back into the silk.

Finally, she fully focuses on you. Her hands work your cock. Up, down. Smooth, measured, fluid strokes. Unsurprisingly, she's perfect, each action purposeful, coordinated, and calculated. You know from the tension already winding, growing tighter and tighter, that it's a race you're destined to lose.

Yujin sighs heavily. Her lips remain open but her eyes grow serious. Head propped by the pillow, she's watching her handiwork. Watching the first drops of cum leak out and she palms them, taking them into her grip, making it messier as she continues to pump. Her eyes lift to watch your face as it distorts, and as you let out a groan.

"Are you close yet?" Her hand tightens. Faster. Rougher. Her fingers graze your sensitive cock, your body convulses and the involuntary reaction is a knee-jerk buck of your hips into the warmth of her hand. And her laugh follows. Delightfully warm, innocent, genuine. It fills the room and pierces through any self-conscious embarrassment. "Guess so, huh? Come on, cum. Just for me." Her thumb drags over your cock's head.

Your hands still moving, and Yujin's body beginning to quiver. With her orgasm fast approaching, she's determined to make you finish first. Her other hand has a hold on your balls, encouraging them to let loose.

Your lungs hurt from the shallow gasps and a sick knot forms in the pit of your stomach. A tingling buzzing and a throbbing that overcomes everything, wiping the thoughts from your mind. Only her eyes. Yujin's warm, hazel, angelic eyes are what remains. They stare with determination, urging you on.

She knows. You know. You can't hold it anymore. Your body isn't yours anymore, it responds to Yujin, and when she grins, you have no power. Yujin's in control, the only words in your mind. "Cum. Cum all over."

"Ugh, fuck..." is all the warning that you can manage. Her grin widens into a malicious smile and her hand becomes a vice. You can barely breathe; a dull buzzing rings in your ears. Your vision is a blur. All-consuming pleasure blinds. You buck into her hand and feel the thick ropes of cum leave. Firing onto her toned stomach. On to her tits. Wherever her hand directs you.

"Wow, really came hard," Yujin grins teasingly at her messy hands.

Breathing is easier now, and the rush, though it fades, lingers still in every inch of you. And as feeling comes back, as your mind clears, you realise your own hand never stopped. You're still mindlessly fucking her with your fingers. Still making Yujin writhe and moan. She's so warm. Wet.

"Fu-ck. Ke-eep doing... that." Her legs pull at you, forcing your body on top of hers. You respond in your movements, curling your fingers into her and slamming them harder. Your palm hits her cunt every time with a slap.

She's got a hand on her tit, squeezing the cum-covered mounds, her hand sliding around in the sticky mess. It's spreading—the mess, all over her tits—and she's using it for pleasure. It glistens in the soft blue moonlight, catching your eyes.

"I-m..." Yujin starts, then gasping a sharp intake of breath, then more noises, stunted. This goes on until, finally, she takes one slow, heavy, deep breath, filling her chest and holding it there. Her eyes are glassy as if she's not looking through them. And she's still gripping your sensitive cock, hand covered in cum. You groan softly as her hand rubs the last few drops out.

She cums again. She tried to warn you, but this time she's nothing but moans. Erupting from her. Rough. Deep. Coming from within. She gushes. Wetness coats your fingers. Her cunt overflows and runs out onto your hand. A mess of her cum on you, a mess of your cum on her. You watch her breathing as the final few gasps leave her, slowly returning to a steady, even rhythm.

Yujin is breathless. "W-wow..."

You kiss her cheek gently. Your body finds its place beside hers. "Fuck me, Yujin," you exhale.

Yujin's breathing is slow and even, a smile beaming, radiating that warm glow that is her. She takes a deep breath in, then lets it out again.

"No." There's not an iota of sympathy.

You let out an audible sigh, but Yujin holds her finger up. "No sex tonight," she corrects herself, before pushing on your shoulder, rolling you over until she sits atop you.

Her lithe, cum-covered body presses down upon you. Her hips against your spent dick. She leans back, straightening her torso. She barely weighs a thing. Her body is as light as a feather. Yujin gives an innocent look, smiling but avoiding the eyes, but after a moment her smile turns coy, even teasing. She runs a hand over her body and pulls it away, strings of sticky cum stretching from her fingers to her stomach.

"I need a shower." She runs her eyes over your body. "We need a shower."

"Or we can continue..." you speak as you run a hand up her thigh.

Yujin moans in response, and she closes her eyes at the contact. A tremble wracks her for a moment, until her eyes snap open. "No." She pulls back and pushes off you. "Come. Let's shower."

She's standing beside the bed, and you admire her. "You look gorgeous." The words float in the air, and Yujin lets a soft, barely visible blush form. She takes it well; you would've thought she'd dismiss the words, but she smiles warmly.

"Come on." Her finger beckons you.

You follow and don't take your eyes off her. And why should you? Her body is so enchanting, swaying her hips from side to side in her lustful saunter. Her ass and shoulders roll in sync perfectly.

***

Hot water and steam. One runs down your body and the other fills the air. Not thick enough to block your sight but still veiling everything in a white, blurry mist, just enough to muffle the sound, enough to add something in the background.

"Mm..." Yujin murmurs as you rub her back. A luxurious bar of soap. You lather your hands and work it across her body. Underneath her arms. You guide your slippery hands to her sides, lifting and moving with them as they run along her stomach. You tickle gently above her hip bones, smiling at her small reaction—how her hips roll away instinctively.

"So, what happens now?" you ask. Yujin had been completely quiet during the shower. But you can't help but think that you need to address what just happened, what could happen.

"Well, I could bend over right now, right?" Her voice is bubbly, still in a post-orgasmic high.

You chuckle. "But you won't."

"But I won't," Yujin confirms. "I haven't decided yet."

"That's ominous."

Yujin closes her eyes. "Not like I'm the only girl who you're fooling around with."

"So you want it to be exclusive?"

"No." Yujin takes the soap and turns to face you, rubbing it over your chest.

"You're a hot guy, with a nice cock," Yujin's eyelids fall half-closed and her lips spread to show her tongue running over the corner of her mouth, and with the faintest shrug, and adds: "We both know I could have my way with you anytime I want."

Yujin moves past you towards the jet of running hot water. She bows her head under it and lets it rinse off the foam. The suds flow down her body. The streams turn to rivers. Bouncing, trickling, coursing between her supple breasts, down her narrow waist, over her toned stomach, then along her long legs. She takes a second longer than necessary, basking in the spray and enjoying the sensation, and the visual she knows she creates for you.

She reaches out and pulls you under, body against body. She brings her mouth to your ear. "But no one can find out. That would cause you a lot of problems." Her hands grip you tightly as if to emphasise the seriousness. And while her tone remains jovial, there is an underlying sternness.

"What do you mean? What would happen?"

"The position my dad is in, we can't afford to have this come out. He would have you out of the school and out of my life in an instant." Her voice lowers, almost a growl, but there's amusement in it. Her smile widens as she looks you in the eye. "But that won't happen, will it? We'll make sure of that."

"No, won't happen."

"And while we're on the topic..." Yujin grabs at your crotch, stunning you. "If you're gonna keep fucking Wonyoung, you might want to do a better job of hiding that. It'll end the same way."

"Y-you don't mind if I fuck Wonyoung?"

"Please, I encourage it." Yujin wraps a hand around the nape of your neck and pulls you in closer. You move your arms to hold her back. Skin on skin. Her breaths are hot, and steamy. She whispers the next few words, drawing out every syllable, each sound heavy with meaning.

"I..." You lose what words you want to say, flustered by her open, unexpected, and totally cool, reaction.

"Why would I? It's hot as fuck." Her lips brush over your cheeks, ghosting over the skin with a soft, supple touch. "And I know she won't fuck as good as I will."

NEXT PART HERE

#wonyoung smut #yujin smut #ive smut #male reader smut #x male reader #kpop fanfic #kpop smut #wonyoung x reader #yujin x reader

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lev1hei1chou · 6 months

Text

Geto's Warning

Dad!Geto x reader Genre: Fluff Words: 545 Synopsis: Geto's daughter wants to marry uncle Gojo Gojo version Masterlist

The sun was setting, casting a warm glow through the windows of the Geto household. You lounged on the couch with your husband, Geto who was engrossed in a book. Suddenly, the peace was shattered by the energetic entrance of your daughter, Hana.

"Mom, Dad, guess what!" she exclaimed, her eyes alight with excitement.

You glanced up from your phone, while Geto marked his page, both curious about the source of her enthusiasm. You exchanged puzzled glances before Geto spoke up, raising an eyebrow, "Alright, spill it, Hana. What's this life-altering decision you've made at the tender age of six?"

With a gleeful grin and an unmatched enthusiasm, Hana declared, "I've decided I'm going to marry Uncle Gojo!"

You nearly choked on your own breath, and Geto's eyebrows shot up in surprise. After a moment of stunned silence, Suguru recovered first, his face displaying a mix of bewilderment and skepticism. He cleared his throat, trying to process her declaration.

"Uncle Gojo?" he repeated, his voice tinged with disbelief, "Why Uncle Gojo, of all people?"

Hana nodded vigorously, her determination unwavering, "Because he lets me do everything! He's the best and the coolest!"

You couldn't help but chuckle at her reasoning, but Geto remained skeptical. "Hana, marrying someone just because they let you do everything might not be the best foundation for a relationship. And sweetheart, marriage is a big decision."

He paused for a moment before continuing "Are you sure Uncle Gojo is the right choice?"

Hana crossed her tiny arms and nodded again, her conviction unshaken. "Yes, Dad! He's super fun! He lets me eat candy for dinner!"

Geto's expression softened, and he exchanged a knowing glance with you before turning back to Hana. "Well, Hana, marriage isn't just about fun. It's about finding someone who cares for you deeply and respects you."

"Uncle Gojo does care about me! He said I could be the president of the Gojo fan club! And he gave me a Hello Kitty bandaid when I fell at the park daddy" She retorted.

Your husband glanced at you, trying to hold back a smile. "Well, that's quite the selling point," he conceded, "But you should also be careful. Uncle Gojo is... a unique character."

Hana tilted her head, "What do you mean, Dad?"

Geto leaned in, his expression turning serious, "Sweetheart, Uncle Gojo might seem fun and carefree, but remember, always stay alert around weird people. And he's probably the weirdest of them all."

You burst into laughter, earning a disapproving look from Geto, who continued to warn Hana about the eccentricities of her chosen future uncle.

Hana tilted her head, intrigued. "What do you mean, Dad?"

Geto leaned in conspiratorially, his tone serious. "Well, sweetheart, Uncle Gojo is a bit... eccentric. You never know what he might do next."

You couldn't help but interject, trying to lighten the mood, "Remember that time he tried to juggle watermelons?"

Hana burst into laughter, picturing the absurd scene in her mind. "Yeah, and then he accidentally dropped one on his foot!"

Geto chuckled, shaking his head. "Exactly. So, while Uncle Gojo may seem like a fun choice now, just remember to stay alert around weird people like him."

Hana nodded, understanding dawning in her eyes. "Okay, Dad. I'll keep that in mind."

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fuckyeahgoodomens · 8 months

Text

David and Michael in the interview with Ali Plumb for BBC Radio 1, 10th July 2023

I compared it with it's podcast version and there are some bits that are cut out in the video 👀 but I added them into the transcript ❤ 🐍😊 .

AP: If you're thinking I'm the kind of guy that rocks up to a Good Omens interview with...

Michael: With the book.

David: Oh, well done.

Michael: We'd be correct.

AP: Yeah.

[GOS2 Promo]

AP: So after such a successful and well received first series, what gives you guys?

David: Why risk it?

AP: Why risk it.

Michael: What gives you the right?!

AP: What gives you the cojones to do another one?

Michael: I know.

AP: How dare you?

Michael: It's terrible. When I wrote it.... Well, no, I mean, that's the thing, really, I mean, it's Neil and Terry's baby. And we'd always known that they'd gone beyond the world of the first book. In fact, there's stuff that's not in the first book, in the first series. So Gabriel is a character, you know, who's not there. So we'd always known that there was a lot more.

David: The ideas, the threads.

Michael: Exactly. And they even had a name for a sequel. 668: The Neighbour of the Beast. Which is hilarious.

[A cut out part that is not in the video, but you can listen to in the podcast version of it:

AP: Just take, write the joke and then work it out later.

Michael: The best Good Omens joke isn't even in the Good Omens book.

David: Yeah.

Michael: And so we knew there was all that. So I think given that, that gave certainly us the confidence to know that we were in, you know, safe hands.

David: Yeah.

Michael: And I think gave Neil the sense that it was worth exploring, going further, because I think without that, he would never have done it. If he didn't feel that Terry was part of that ride as well, then I don't think he would have gone on it.

]

AP: At the risk of reading from the scripture, this is what's in the hardback copy of Good Omens: 'Why isn't there a sequel? Neil: Well, we know how the sequel goes. We played around with the idea whilst we were on tour. We even discussed a few scenes, but we could never quite work up the enthusiasm. It'd have been fun. We'd split the cash. But we both had other things to do'.

Michael: Yes. It's very much how we felt, isn't it? We'll split the cash.

David: Yeah.

AP: And run.

Michael: You know, and if we got nothing else on.

David: Well, yeah.

Ap: And you kind of enjoy each other's company?

Michael: I mean, enjoy is a strong word.

David: We're very good at faking it.

AP: Actors. I love it.

David: Yeah, exactly, exactly.

Michael: Yeah, exactly.

AP: When, outside of a show's context or the film's context, have you felt physically, visually the silliest? Because I think in this show there have to be moments. Green screen, full orange wig hair, that you go, no one take a photo of me right now.

David: The opening scene of Season Two is set in space and we're dressed as sort of old fashioned-

Michael: That makes it sound like sort of an episode of Blakes 7 or something, it's not Sci-Fi space, is it?

David: There's nothing wrong with that.

Michael: No, there's nothing... I mean I love it.

David: Jesus,

AP: Are you stepping up saying Sci-Fi's rubbish at this-

Michael: No, no, no! Of course not! No. But what I'm saying is-

David: I don't know who this is

Michael: David is making it sound like it's like Aziraphale and Crowley are in a rocket ship.

David: It is set in space!

Michael: Well, yeah.

David: First series set in space! You can't... it's just factual.

Michael: But not like space 1999.

David: Just space.

AP: It's pure, undiluted space.

David: It's set in space. In fact, it is undiluted space. And for that, we were dressed as a traditional angel in a sort of nighties...

Michael: Yes, we weren't in silver spandex.

David: We were in nighties.

Michael: We were.

David: And we were strapped to make this floating in space - and they didn't have this on Blakes 7 - we were strapped onto these gurneys and moved up and down.

[hehe bonus pic :)]

Michael: I had a jetpack.

[again, cut out in the video but present in the podcast version

David: I mean, it looks beautiful. The finished, the finished piece.

Michael: It was very odd, wasn't it? Yes. We were both sort of just like.

David: Yes.

Michael: Hovering around each other.

David: And it was, it was ignoble. Some of the being strapped in and out.

Michael: It was. Yeah.

]

AP: At least it's not Jon Hamming into a room... full Hamm.

[GOS2 Promo]

[again, cut out in the video but present in the podcast version

David: The naked Hamm? The naked Hamm was... yeah. He seemed pretty...

Michael: He seemed very relaxed.

AP: He insisted on spending more scenes in that costume.

]

Michael: That was never in the script.

David: No, he just turned up on set.

Michael: That's how he showed up.

David: I had an idea, guys!

Michael: Yes. No, there's lots to look forward to.

AP bursts out laughing: Sorry.

Michael: And lots to look back on.

AP: This second series, having a little bit more wiggle room in terms of where you might be able to take the characters, I think it's fair enough to say. Do you feel more active input.

[again, cut out in the video but present in the podcast version

AP: Into where they might go? Because to me, they strike as having a very strong Woody and Buzz factor of...

David: Right.

AP: Bear with me here. You're both not very good at your jobs.

David: How dare you?

AP: It's true. One's no angel. One's far from evil.

David: That's true.

AP: And you kind of are fudging it constantly.

]

AP: Do you feel you have more room to kind of fudge here and fudge there and really muck about with the characters now?

Michael: I mean, I every day when we start, I like to first of all say, Neil, I've got no interest in hearing what you're going to say. This is what I think should happen.

David: Yeah.

Michael: I mean, the thing is, when you've got Neil Gaiman writing it-

David: Yeah.

Michael: -you should have just go, off you go, mate.

David: The last thing you want to do is start putting in your ideas. You don't want to limit anything that's going to come out.

Michael: It's like brain. It's like when Ringo says, no, no, no, no, no, no, no, no.

AP: Yesterday, I have notes.

Michael: Listen, listen to what I've come up with.

AP: There's too much guitar in this.

David: Yeah.

AP: More drums.

David: Yeah.

Michael: Yeah. I think one of the things about Neil that is so wonderful is that he is so open and generous with ideas,

David: Yes.

Michael: and he's so not precious about what he's written. He is very respectful of what he and Terry created and is probably a bigger fan than any other fan, but he's not precious about it and he's very open to collaboration. In fact, he's probably the most collaborative

David: Yes.

Michael: I'd ever come across in my life.

David: Yes, absolutely.

Michael: So he loves watching what other people bring to the table, not just actors, but, you know, designers, everyone. And then I think he takes from that and is influenced by that. So it's very collaborative in that sense.

David: Yes. But if we influenced where the characters went in season two, it was sort of circumstantially.

AP: Right.

Michael: Yeah.

David: It was sort of by the act of what happened during season one and getting to know Neil and getting to know each other. But the great joy for us is turning up to these wonderful scripts and going, oh, I get to take this character here now. What a lark.

[again, cut out in the video but present in the podcast version

Michael: I mean, I wrote some very stern emails to him.

David: Yeah.

Michael: Which I was glad to see that he totally ignored.

AP: Screen time for me.

Michael: Yes, exactly.

AP: I like to think the 'I was right, or rather, you were right and I was wrong' dance was organic in the moment, not in the script. And could you give us a quick how might I recreate that beautiful...

David: Absolutely not. No. I worked with the choreographer for some days.

Michael: It's true.

David: Yeah.

Michael: It's true. And am I right in saying that... I wonder if this exists? But when we were filming it, didn't I, on the last take, I made you do it once with you thinking that you were doing it for real, but actually it wasn't for real. It was just so I could do.

David: It was so you could have-

Michael: So I could Strictly Come Dancing [british dance contest]-

David: Exactly that. Does it exist? I think it does exist.

Michael: It must have actually built... I had cards made with scores on them and David, God bless him, came in and did the whole thing again, thinking that he was doing it for the filming. And in fact, it was literally just so at the end I could go, 'SEVEEEEEEN'! [It was filmed, hehe, see here :)]

David: Yeah. But I don't want Amazon to think we're wasting your production...

AP: Money and time. No.

David: And it will show up on a blooper reel somewhere.

Michael: There was no film. There was no film.

AP: It was definitely not a waste of time. No, absolutely not.

]

AP: What would you say the fans have responded most to from the first series when you meet them at comic cons or on social media or what have you? Are there moments from the first series where they love talking about that scene?

Michael: Well, I think people really enjoy the going through history stuff, don't they? I mean, we thoroughly.

David: We certainly do. There's just something about the characters and their relationship, though, that seems to have just caught fire. I mean the amount of...

AP :I won’t read some ot the stories I’ve glanced upon.

David: Right.

AP: Yes. Fanfiction is quite….

David: Oh, I see. Oh that is not for us to read.

Michael: Oh I read it all.

AP: Oh you should. You write most of it, right?

Michael: I write most of it.

David: But it's lovely to see. And I have seen more than I can count. Aziraphale and Crowleys showing up. People dressed and always in twos, always in pairs.

Michael: Yes.

David: You know, and that's lovely. And that seems to absolutely encapsulate what the whole show is about, I think.

AP: Tattoos, fan art.

David: Definitely, yes. Seen a couple of tattoos.

Michael: Yeah.

AP: Yeah. Do you get fans in the street quoting lines or just pointing and staring? Because you two together can't really walk down the street.

David: Michael doesn't walk anywhere.

Michael: Those days are long gone.

AP: Jackpack.

David: Yeah.

Micheal: Yeah.

AP: Yeah, that's fair.

Michael: Well, I get a lot of ‘To the world’.

David: Oh, yes. Nice.

Michael: People like to… yeah.

David: Yeah.

Michael: And 'You go too fast, Crowley.’

David: Ooh.

Michael: There’s a lot of that. That gets jumped around.

AP: What about... and this is a kind of BAFTA winning question, so just send it my way.

David: Wow.

AP: Would you say these characters are in your top three most fun characters you've ever played? Because they strike me as being... I'd probably play these characters forever if I could.

Michael and David: Yeah.

Michael: This is like on what's that show when people have to say whether they want to date each other again? You go first. Top three?

David: I mean...

AP: Number two...one?

David: It'd be a weird scenario to say it wasn't.

AP: Yeah, I agree.

David: In this situation.

AP: Yeah.

David: To start something: well, I mean, it's sort in the little twenties. But... No, we did have an irresponsible amount of fun.

Michael: Yes. Not really like working.

AP: No.

Michael: I mean, I very much hope that we eventually get to, in one way or another, in one form or another,

David: Yeah.

Michael: get to play them just very, very old. And it may well be... I mean, we joke about doing a theatrical tour.

AP: And swapping.

David: I'm not joking. I'm not joking about that.

Michael: No.

David: It's a lovely little retirement plan.

Michael: I know.

AP: I'm dead keen on Good Omens 666. I think...

Michael: Oh!

AP: It's just there.

Michael: Yes.

David: Yeah, yeah, yeah.

AP: Think about it. Post apocalyptic...

Michael: Part, like Good Omens 1, 2, 3, all the way up to 666. I mean, that's a long running series. That's longer than Frasier.

AP: Big words. If a bad joke's worth telling. 666.

Michael: Telling over and over again.

AP: Over and over and over.

David: Yeah.

AP: Guys, I'm going to ask you one last favour as I wrap things up, which is I have at the front of this book, one Mr. Neil Gaiman.

[shows a copy of Good Omens signed by Neil Gaiman].

AP: He signed it and he said as he often does: Ali, have a good doomsday. Would you care to deface?

Michael: I heard the other day that someone went to interview George Harrison and the person who interviewed him said, would you mind signing this record? Whatever it know, the white album, whatever. And he went, do you want them all? And they used to all write each other's name, all sign each other's names.

David: Wow.

Michael: Because they had to do it so much.

David: Do you want to do mine?

Michael: Just get Neil to do that.

AP: Could you please sign as your man? I'll be very lucky.

Michael: On a different page.

AP: You pick your own page, deface as you will.

Michael: Yeah. Look at that. I do a little halo.

David: Oh, that's given me an idea.

Michael: Oh look at that, yeah.

AP: And then while I'm here, I'm going to do the super unprofessional thing of asking for a photograph, if that's allowed.

David: Yeah.

Michael: Oh, look at that.

David: That's perfect.

Michael: That's nice, isn't it?

AP: Beautiful. Would you mind helping me out?

David: Do you see what we've done there, Ali?

AP: Oh, thank you!

Michael: And yours is D for...

AP: I'm going to kneel behind you.

David: Sure.

Michael: I thought I should turn my M into wings.

David: Oooh.

Michael: This is, this is...

AP: Guys, as you may have worked out, big fan.

David: Cheers, Ali.

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vidavalor · 8 days

Text

Yes, Crowley's expression here is hilarious and always worth a post in its own right 😊 but I thought I'd share something about what he's doing with his hand for anyone who is unfamiliar with that particular gesture, as it has a name and a purpose that goes along with a few other scenes in the series. It's also a good strategy in real life for anyone experiencing anxiety and might want another tool in their toolbox for it.

TWs: anxiety; trauma; PTSD; brief, indirect mention of SA.

For a lot of people who get something on their hands and are exploring the texture of it, the inclination would be to rub together the thumb and the index finger. Crowley's unique use of his fingers isn't just a sorcery thing, though, as what he is doing in this scene-- touching his thumb to his middle finger-- has a name amongst us humans.

It's called shuni mudra.

If you meditate or practice yoga, you have likely heard of mudras, which are different ways of positioning the hands to use the fingers to create a seal that directs prana-- aka energy flow-- in different ways throughout the body. Shuni mudra is done to generate a sense of calm and patience-- especially patience with the self. It is a hand gesture done as a way to help regulate the heart, circulatory & nervous systems and is most commonly used to counter anxiety. Like with any mudra, you don't have to do it in the midst of a yoga or a meditation session but can make the gesture just whenever you feel the need, as Crowley did in the scene above. If you give it a try, you'll probably find that it is surprisingly relaxing for such a simple gesture.

Crowley's outsized startle response to getting hit with the paint is very funny but it is also pretty typical of someone with PTSD-- especially someone who has it as a result of bodily autonomy violations, as is the case with Crowley. People who have experienced non-consensual loss of control over themselves tend to have a jumpy response to sudden, unexpected stimuli in their environment.

Even though Crowley flailing dramatically is hilarious to watch because he's so over-the-top with it, beneath the humor in the scene is also that being unexpectedly hit with something out of nowhere is a very common thing that can trigger anxiety in people with PTSD. Good Omens is very good at finding some humor in dealing with darkness and a comparable scene in tone to this is Gabriel bouncing off the walls when the angels show up at the bookshop in S2. What is very amusing "books are keen!", fly-chasing zaniness is really, underneath, unconscious anxiety manifesting, as part of Gabriel's mind knows that the angels are a threat to him and is reacting with panic at them in his bookshop safe space.

Ironically, reacting with panic to an angel perceived as a threat being in the bookshop safe space is also Crowley's S2 plot, as if he and Gabriel didn't already have more in common than Crowley is ready to admit...

But, back to the hand gesture thing...

There is evidence that things like shuni mudra are effective simply because they help to create a pause that interrupts anxious and self-critical thoughts, which then allows space for calming the mind and body. Used in the way that Crowley is using it here, it's very similar to the Five Things/5-4-3-2-1 strategy for staving off or stopping an anxiety attack, in that both pull people back into the present moment by creating a sense of concentration on something besides the feeling of panic.

That Crowley does this pretty intuitively in the paintball scene as a response to having something anxiety-inducing happen to him indicates he likely does it pretty frequently. Crowley automatically going to shuni mudra while he takes a breath and figures out what, exactly, has happened, is indicative of someone with an awareness of their anxiety and PTSD and who has and uses strategies to help manage them, which goes along with things we've seen in other scenes as well.

Crowley and Aziraphale are inhaling places and food with a clear devotion to trying to live mindfully. You don't need to have experienced trauma to do that but mindful living is prescriptive for virtually every sort of mental health struggle that exists so Crowley and Aziraphale seeing it as therapeutic, as well as enjoyable, seems likely.

In the bookshop, they have a lotus flower rug. The lotus flower has long been a symbol of trauma recovery. You might have heard of the saying "no mud, no lotus", referring to how beauty and health can be made in the wake of horrible experiences. The lotus flower originates in the mud at the bottom of a body of water and travels through it to bloom above the surface, which is at the root of it being symbolic across different cultures for things like enlightenment, purity, strength, and recovery. Its resilience and ability to literally wade through struggle to come through into the light and bloom makes it a metaphor for getting through different forms of trauma.

That Crowley and Aziraphale have this rug in their World of Carpets that is the bookshop, when combined with these other scenes, show how they're dedicated to working through their stuff together and trying to be the best trauma-informed partners they can to one another.

It's also on the lotus rug that Crowley and Aziraphale put Gabriel to perform the miracle to protect him and, when they do, their magic is done with both of them using another hand gesture-- gyan mudra, the seal of knowledge-- to complete the miracle.

I think if you take all of this together, you could make the case for either or both of Crowley and Aziraphale using yoga and/or meditation to help manage the effects of trauma. For those who think that Crowley has chronic pain, there's also that both of these things have been helpful for managing that in many people, so that might be another reason for Crowley, in particular, to practice them.

The lotus rug in the shop might not just be symbolic but also a meditation/yoga spot. Do we think The Serpent always starts with Snake Pose, just because? 🤭

#good omens #ineffable husbands #crowley #aziraphale #aziracrow #good omens meta #good omens 2

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hollowed-theory-hall · 5 months

Note

Any thoughts on the mystery behind the Veil of Death and the three brothers?

ana-lyz: So... What does it mean to be the Master of Death in HP universe? And like what does being MOD mean specifically for Harry?

Okay, funny thing is I got the first of your asks like an hour after I added to my drafts a post titled "Master of Death", so I was just thinking about it. And then I started answering it and you sent the second ask, so, great minds think alike, I guess.

Long post ahead:

The Veil, Death, and its Master

I'm going to cover what we know from the books, my opinions on it, and some of my evidence-based headcanons, since there is a lot of speculation on my part.

The Afterlife and the Veil

So, I wanna talk a bit about death, as it appears in the Harry Potter books. We know an afterlife exists in the HP world both when Harry dies and when he speaks to Nearly Headless Nick after Sirius dies.

I want to start with the scene in Deathly Hallows in the King's Cross limbo. Specifically these few sections:

Barely had the wish formed in his head than robes appeared a short distance away. He took them and put them on. They were soft, clean, and warm. It was extraordinary how they had appeared just like that, the moment he had wanted them. . . . He stood up, looking around. Was he in some great Room of Requirement?

(DH, 596)

“Where are we, exactly?” “Well, I was going to ask you that,” said Dumbledore, looking around. “Where would you say that we are?” Until Dumbledore had asked, Harry had not known. Now, however, he found that he had an answer ready to give. “It looks,” he said slowly, “like King’s Cross station. Except a lot cleaner and empty, and there are no trains as far as I can see.” “King’s Cross station!” Dumbledore was chuckling immoderately. “Good gracious, really?” “Well, where do you think we are?” asked Harry, a little defensively. “My dear boy, I have no idea. This is, as they say, your party.”

(DH, 601)

“Tell me one last thing,” said Harry. “Is this real? Or has this been happening inside my head?” Dumbledore beamed at him, and his voice sounded loud and strong in Harry’s ears even though the bright white mist was descending again, obscuring his figure. “Of course it is happening inside your head, Harry, but why on earth should that mean that it is not real?

(DH, 610)

I don't think this place Harry was in is the Afterlife, or even connected to the Afterlife. I think it is in Harry's head. Harry having complete control over it, actually calling it out as behaving like the Room of Requirement, Dumbledore not knowing where they are until Harry knows where they are, etc. All this doesn't fit with it being a limbo on the way to death and the figure there being the real Dumbledore. Dumbledore, throughout this scene, acts kind of strange, way more helpful and finally says all the right things Harry wants to hear.

Not-Dumbledore himself tells Harry he already knows everything he explains to him:

“Explain,” said Harry. “But you already know,” said Dumbledore. He twiddled his thumbs together

(DH, 597)

So, I truly believe it isn't really happening. That this isn't death and it isn't Dumbledore. throughout the scene, Dumbledore doesn't actually give Harry new information Harry couldn't guess on his own. He's just going over things Harry already knew and creating a nice narrative out of them. At some points, he asks Harry what he thinks, and only starts explaining once Harry knows the answer (or what he wants the answer to be). I think this is Harry's subconscious coping and not actual death.

Additionally, there's the disturbing baby Voldemort thing. Now, the real Voldemort is still alive, so contrary to what Not-Dumbledore says, it isn't actually Tom Riddle:

“Oh yes!” said Dumbledore. “Yes, he destroyed it. Your soul is whole, and completely your own, Harry.” “But then . . . ” Harry glanced over his shoulder to where the small, maimed creature trembled under the chair. “What is that, Professor?” “Something that is beyond either of our help,” said Dumbledore

(DH, 598)

What I believe it is, is the soul in the Horcrux in Harry. Separated from Harry's own soul within his mind. That's the only thing it can be, in my opinion. I don't believe the soul shards in the Horcruxes could pass into an afterlife, or even to limbo. They were created to be bound to life and passing away is against their very nature (unless, maybe, if you throw them through the veil).

Besides all these oddities in the scene, it just doesn't make sense for Dumbledore to be there. Nearly Headless Nick gives some insight about death and the Afterlife:

“He will not come back,” repeated Nick quietly. “He will have . . . gone on.” “What d’you mean, ‘gone on’?” said Harry quickly. “Gone on where? Listen — what happens when you die, anyway? Where do you go? Why doesn’t everyone come back? Why isn’t this place full of ghosts? Why — ?” “I cannot answer,” said Nick. “You’re dead, aren’t you?” said Harry exasperatedly. “Who can answer better than you?” “I was afraid of death,” said Nick. “I chose to remain behind. I sometimes wonder whether I oughtn’t to have . . . Well, that is neither here nor there. . . . In fact, I am neither here nor there. . . .” He gave a small sad chuckle. “I know nothing of the secrets of death, Harry, for I chose my feeble imitation of life instead. I believe learned wizards study the matter in the Department of Mysteries —”

(OotP, 861)

From the way Nick speaks, ghosts are caught between life and death, part of them remains among the living while the rest moves on. Ghosts live in limbo, unable to be alive or dead. From his words, it also implies the properly dead, those who chose to move on, stay dead. They stay gone.

If that's the case, how could Dumbledore come to greet Harry in limbo? He's dead, truly gone, and death has no exceptions. There is no reason Dumbledore could speak to Harry in limbo and his parents won't. Once you're dead, you reach the afterlife and there you stay.

So I don't think the white King's Cross in Harry's death vision was connected to the afterlife, nor was it the real Dumbledore there. So, what is the actual afterlife?

Well, we don't really know. But, I can cover what we do know about the nature of death in the HP universe.

From Nick's words, the afterlife is the better option, than becoming a ghost. Nick describes ghosts as imprints left behind, but imprints of what specifically?

I talked about this already when I discussed how to make Horcruxes, but in alchemy, everything is comprised of three things:

Sulfur - soul

Mercury - spirit (that binds the body and the soul)

Salt - body

A ghost doesn't have a body, and we know all that moves on to the afterlife is one's soul. Therefore, it stands to reason ghosts are an imprint of a soul, while the spirit leaves at the moment of death. That's what an Avada Kedavra does, it removes the spirit, the connection between the body and the soul. That's how it kills instantly and without a trace.

So, when someone passes into the afterlife, it's their soul that passes away.

What about the echoes of Harry's parents and Cedric in Voldemort's wand during the duel in the graveyard?

Well, they're dead, they moved on, so it can't be their soul. The figures aren't even described the same way as ghosts or diary Tom, figures we know are made of souls:

and then something much larger began to blossom from Voldemort’s wand tip, a great, grayish something, that looked as though it were made of the solidest, densest smoke. . . . It was a head . . . now a chest and arms . . . the torso of Cedric Diggory. the dense shadow of a second head, If ever Harry might have released his wand from shock, it would have been then, but instinct kept him clutching his wand tightly, so that the thread of golden light remained unbroken, even though the thick gray ghost of Cedric Diggory (was it a ghost? it looked so solid) emerged in its entirety from the end of Voldemort’s wand, as though it were squeezing itself out of a very narrow tunnel . . . and this shade of Cedric stood up, and looked up and down the golden thread of light, and spoke.

(GoF, 665-666)

Their bodies are buried, and Cedric's is just lying there, neither are they physical enough to be bodies. I believe this is their spirit. Remember what I said about the Killing Curse just now, it severs the tie, and as such, it keeps the spirit. So, Harry is speaking to his parents' spirit, the echoes of their lives, not souls.

Now, let's talk about the veil. The veil is one of the most fascinating things introduced in the books, and the way it is introduced is fascinating on its own, but that's for later. The veil is a physical archway into the world of the dead.

The concept of such an entrance exists in multiple mythologies. In Greek mythology, many heroes (Odysseus, Orpheus, Heracles, Theseus, etc.) all travel through the underworld in one way or another, this is why the hero's journey goes through the underworld, it's very common. In Mesopotamian mythology, Gilgamesh and Ishtar both travel to the underworld. The point is, a gateway into the afterlife you can travel through, is a concept humanity has been toying with for millennia.

What's interesting is that, like Thestrals, those who've seen death (Harry, Luna, and Neville) can hear whispers from it. They experience it differently from others who haven't witnessed death (Ron, Hermione, and Ginny) who feel unnerved by it (although, Neville and Luna react differently from Harry, but more on that later). Not much more can be said about it, except that unlike all these gates into the underworld from myths, the veil is meant to be a one-way ticket.

In general, the afterlife in the Wizarding World is a one-way passage. Once you're gone, you're gone. Hence the closest thing to proper necromancy they have is creating inferi, which are soulless since the soul can't be pulled back from the afterlife.

The veil was also there before the Ministry of Magic, which was built around it. My guess is that some ancient wizards made it, and how or why were forgotten over time.

As the Peverell brothers were born around the 1210s and the Ministry of Magic was founded in 1707, it's possible, that the same Peverells from the story have built the veil. I actually think it's quite likely.

Death Himself

The idea of death personified is just as old and prevalent in many myths and cultures as a gateway leading into the afterlife. Whether Death, as a being, exists in the Wizarding World, I'm uncertain, but I don't think it's likely.

God-like spirits like Death feel out of place in the world in a way. Like, having a pantheon of gods feels wrong for the world of Harry Potter. It feels out of place with the established lore and magic. We don't see any evidence of wizarding society having any kind of unique religion in which such beings exist. Death, in the tale, is also described as similar to a dementor, making the idea that the author based Death's appearance on that of a dementor plausible.

That being said, Death's similarity to dementors could be the other way around. As in, the dementors look like death because of their connection to him. And, Death from the Tale doesn't really act like a god. How he behaves and is spoken of in the Tale of the Three Brothers reminds me a lot of a fae-like creature. Like, a powerful being who's a trickster that twists your wishes into something that he can use against you.

However I look at it, I still don't feel a being like this would fit in the world of Harry Potter, it feels wrong to add gods (or fae) in there. We don't see any hint that such beings might exist, which makes me feel they don't. So, I don't really think a personification of Death as appearing in the tale actually exists, but they do have an afterlife, as established above.

The Peverells and the Hallows

So we all know the legend about the three Peverell brothers who cheated death and received his gifts. Dumbledore (the one Harry imagines in his death fever dream) is certain it went down a little differently. That the tale is to explain incredibly powerful magical artifacts made by extraordinary wizards:

“Oh yes, I think so. Whether they met Death on a lonely road . . . I think it more likely that the Peverell brothers were simply gifted, dangerous wizards who succeeded in creating those powerful objects. The story of them being Death’s own Hallows seems to me the sort of legend that might have sprung up around such creations.

(DH, 602)

While it's not really Dumbledore and more Harry's own mind, I agree with him the Peverell brothers were probably no run-of-the-mill wizards, and I agree it's unlikely they've met Death, as I don't believe he exists.

Now, all the Hallows have a sentience to them beyond just any magical artifact. Even the wand is more sentient than any other wand, which are already quite sentient ("the wand chooses the wizard").

The wand of the first brother is a Hallow I already wrote about how it chooses its master. It is a wand intrinsically connected with death, having a core of Thestral hair. (I wonder if a core from a Thestral would agree to work for a wizard who hasn't seen death, but I digress)

This wand is actually the least impressive Hallow, in my opinion. Even though it said to be unbeatable:

Naturally, with the Elder Wand as his weapon, he could not fail to win the duel that followed. Leaving his enemy dead upon the floor

(DH, 352)

Its user is beaten quite often, that's how the wand changes owners, after all. This wand's tendency for even more sentience than other wands is what is particularly unique about it. How it chooses its master repeatedly, and sometimes even decides it prefers another over its current master, something unheard of for any other wand.

The Resurrection Stone has the supposed ability to pull a soul imprint from the afterlife:

“Yet she was sad and cold, separated from him as by a veil. Though she had returned to the mortal world, she did not truly belong there and suffered.

(DH, 352)

Something that I just discussed above should be impossible. Once dead and in the afterlife, nothing comes back out. Harry uses it as well for the same purpose and describes them as being similar to Tom from the diary:

They were neither ghost nor truly flesh, he could see that. They resembled most closely the Riddle that had escaped from the diary so long ago, and he had been memory made nearly solid. less substantial than living bodies, but much more than ghosts, they moved toward him, and on each face, there was the same loving smile.

(DH, 589)

Because that's what the stone brings back, echoes of souls, but they aren't what Tom Riddle was in CoS.

“We are part of you,” said Sirius. “Invisible to anyone else.”

(DH, 590)

This line, made me believe the resurrection stone does something different than its name suggests and more similar to the lie Tom in the diary told Harry. They aren't souls, they're memories, echoes from within Harry himself. "Memory made solid"

Magic, in the world of Harry Potter, can't bring back someone who has moved on to the afterlife. It's a one-way ticket, as I've established before, once your soul moves on, that's it (if you try to resurrect someone immediately after they died and their soul hasn't yet moved on it's a different story). So I think, these shades are based on Harry's memories, and not actual souls brought back. It'll make more sense magically since his thoughts and memories are there, but the souls have gone on.

It also makes the tale of the second brother make more sense. He suffered because it wasn't really his wife that came back, but a shade based on his own memory. The tale said that she suffered, but I think it was Cadmus who suffered, not truly having her back. However, depending on how she died, her suffering might've been his memories of her that the stone resurrected, or the tale made it all up just like it made up Death.

The stone is just as picky about its master as the wand. It does not seem to have worked for anyone other than Cadmus Peverell and Harry himself. We don't hear of any Gaunts who used the stone, nor do we hear from Dumbledore he succeded in using it (I don't think it's actually Dumbledore in the conversation in King's Cross as I mentioned above). Regardless, I think the real Dumbledore probably did try to use it, and I will hazard a guess he failed. Since the stone didn't choose him.

The Cloak is unique in many ways. Lasting centuries, way longer than any invisibility cloak can, passing from parent to child for generations. It also does a better job of concealing you than another invisibility cloak, if, it still has its limits:

“...We are talking about a cloak that really and truly renders the wearer completely invisible, and endures eternally, giving constant and impenetrable concealment, no matter what spells are cast at it. How many cloaks have you ever seen like that, Miss Granger?”

(DH, 354)

The cloak is similar to the other Hallows in how picky it is regarding its master. The cloak wouldn't belong to anyone who just possesses it, it's not enough. It has to be passed willingly on the owner's deathbed, as they greet death as an old friend. It means that in the books, no one but Harry could be its owner.

All artifacts are powerful, but they aren't capable of anything that breaks the laws of nature (as the stone doesn't really resurrect), they are also sentient and picky, but it isn't something beyond the capacity of wizards. Why, we know of four wizards who made three sentient magical artifacts already — The Hogwarts founders.

The four founders enchanted the sorting hat together, but more relevant to the discussion of the Hallows are the Book of Admittance and the Quill of Acceptance.

At the precise moment that a child first exhibits signs of magic, the Quill, which is believed to have been taken from an Augurey, floats up out of its inkpot and attempts to inscribe the name of that child upon the pages of the Book (Augurey feathers are known to repel ink and the inkpot is empty; nobody has ever managed to analyse precisely what the silvery fluid flowing from the enchanted Quill is). Those few who have observed the process (several headmasters and headmistresses have enjoyed spending quiet hours in the Book and Quill’s tower, hoping to catch them in action) agree that the Quill might be judged more lenient than the Book. A mere whiff of magic suffices for the Quill. The Book, however, will often snap shut, refusing to be written upon until it receives sufficiently dramatic evidence of magical ability.

(from pottermore)

The idea of multiple sentient, powerful magical artifacts that need to agree is something wizards are capable of. And that, I think, is the secret to becoming the Master of Death — having all 3 Hallows pick you. Just like the book and quill need to agree a student should be admitted to Hogwarts.

Master of Death

Or more specifically what does that actually mean and why I think even if someone retrieved all 3 Hallows they wouldn't have become the Master of Death if their name isn't Harry James Potter.

This is definitely more in the headcanon territory, but the first scene that really made me think about it is the one in the Death Chamber in the Department of Mysteries. Because I think Harry and death always had a weird connection, it might've been around before the failed killing curse, and it was definitely around before Harry mastered all 3 Hallows.

So, why do I think Harry was always bound to be the Master of Death, and even if Dumbledore or Voldemort had all the Hallows it wouldn't have helped them?

There, are a few things that led me to this conclusion.

First, as I mentioned above, the cloak can not belong to anyone other than Harry in the books. It means that no one but Harry could master all of the Deathly Hallows, regardless of what they did.

Second, This first scene in the Death Chamber with the veil. I'll copy parts of it below and ask you to note, as you read, that Harry, Neville, and Luna are the only three who can see Thestrals and therefore should react more to the veil:

“Who’s there?” said Harry, jumping down onto the bench below. There was no answering voice, but the veil continued to flutter and sway. “Careful!” whispered Hermione. ... He had the strangest feeling that there was someone standing right behind the veil on the other side of the archway. ... “Let’s go,” called Hermione from halfway up the stone steps. “This isn’t right, Harry, come on, let’s go. . . .” She sounded scared, much more scared than she had in the room where the brains swam, yet Harry thought the archway had a kind of beauty about it, old though it was. The gently rippling veil intrigued him; he felt a very strong inclination to climb up on the dais and walk through it. “Harry, let’s go, okay?” said Hermione more forcefully. “Okay,” he said, but he did not move. He had just heard something. There were faint whispering, murmuring noises coming from the other side of the veil. “What are you saying?” he said very loudly, so that the words echoed all around the surrounding stone benches. “Nobody’s talking, Harry!” said Hermione, now moving over to him. “Someone’s whispering behind there,” he said, moving out of her reach and continuing to frown at the veil. “Is that you, Ron?” “I’m here, mate,” said Ron, appearing around the side of the archway. “Can’t anyone else hear it?” Harry demanded, for the whispering and murmuring was becoming louder; without really meaning to put it there, he found his foot was on the dais. “I can hear them too,” breathed Luna, joining them around the side of the archway and gazing at the swaying veil. “There are people in there!” .... “Sirius,” Harry repeated, still gazing, mesmerized, at the continuously swaying veil. “Yeah . . .” ... On the other side, Ginny and Neville were staring, apparently entranced, at the veil too.

(OotP, 773-775)

The interesting to note:

Luna, who can see Thestrals, also hears the whispering. I assume Neville does too.

Ron, Hermione, and Ginny are mesmerized but unnerved by the veil. Ron and Hermione seem to fight this memorization in their fear for Harry as he nears the veil.

Harry is the only one who is drawn to the veil He is the only one that moved, the only one whose feet take him against his will to the dias with the veil.

Harry thinks of it as oddly beautiful.

He has an urge to pass through that no one else does. All of them are frozen in place.

Harry is so affected he needs to be reminded twice that he's there to save Sirius before he can draw himself away from the veil.

Third, later in the book, after Sirius fell through the veil, there's this part:

He had reached the floor, his breath coming in searing gasps. Sirius must be just behind the curtain, he, Harry, would pull him back out again. . . . But as he reached the ground and sprinted toward the dais, Lupin grabbed Harry around the chest, holding him back. “There’s nothing you can do, Harry —” “Get him, save him, he’s only just gone through!” “It’s too late, Harry —” “We can still reach him —” Harry struggled hard and viciously, but Lupin would not let go. . . . “There’s nothing you can do, Harry . . . nothing. . . . He’s gone.”

(OotP, 806)

Harry's instinct to go through the veil to get Sirius out is so odd. The way he thinks that he himself can pull him out, not anyone else, but he... I don't know, but, this scene is interesting. It almost makes me feel Harry could pull Sirius back out. He defied death already once and will defy it again in the 7th book, so why not? Why wouldn't he be able to pull someone back from beyond the veil if they fell through just now (the timing is relevant, I don't think Hary could pull, say, his parents out).

My headcanon is that in that very moment if Lupin let Harry pull Sirius out, it would've worked. Caused a pandemonium about the fact Harry can apparently resurrect the dead (even if it's not really what he did), but that it would've worked. (I actually really want to write a fic like this)

Fourth, throughout the 7th book, once Harry finds out about the Hallows, he can't let the thought go. He knows his cloak is one, he is convinced the stone is in the snitch Dumbledore left him, way before he opened it. He just has a sense about it, and a fixation on it that's almost instinct:

Dumbledore had left the sign of the Hallows for Hermione to decipher, and he had also, Harry remained convinced of it, left the Resurrection Stone hidden in the golden Snitch. Neither can live while the other survives. . . master of Death. . . Why didn’t Ron and Hermione understand? “‘The last enemy shall be destroyed is death,”’ Harry quoted calmly

(DH, 374-375)

So, these are my reasons why I believe Harry is the only character in the books that could or would be the MOD. It's just that he always was, in a way. The Hallows already chose him before he ever held any of them.

But what does it mean to be the Master of Death?

“Well, of course not,” said Xenophilius, maddeningly smug. “That is a children’s tale, told to amuse rather than to instruct. Those of us who understand these matters, however, recognize that the ancient story refers to three objects, or Hallows, which, if united, will make the possessor master of Death.” ... “When you say ‘master of Death’—” said Ron. “Master,” said Xenophilius, waving an airy hand. “Conqueror. Vanquisher. Whichever term you prefer.”

(DH, 353)

We don't really get much besides this. Along with what's written on James and Lily's grave:

The last enemy that shall be destroyed is death.

(DH, 283)

Harry believes all phrases, along with the prophecy are connected and lead him to believe he should become the Master of Death:

Three objects, or Hallows, which, if united, will make the possessor master of Death. . . Master. . . Conqueror. . . Vanquisher. . . The last enemy that shall be destroyed is death. . . . And he saw himself, possessor of the Hallows, facing Voldemort, whose Horcruxes were no match. . . Neither can live while the other survives. . . Was this the answer?

(DH, 369-370)

So what can the Master of Death do? Death isn't a personified deity, what is defeating or contouring death mean? Does it mean immortality?

I don't know if I'll say full immortality, I think the Master of Death can die the same way Ignotus Peverell did. I think Ignotus Peverell was the first Master of Death, in a way, he at least represented the concept:

And then he greeted Death as an old friend, and went with him gladly, and, equals, they departed this life

(DH, 352)

He was death's equal, he could escape it and live a fulfilling life, before choosing to meet Death on his own terms. I think that's what it means, that Death won't find Harry until he is ready to move on, and when he finally chooses to move on, Death would greet him with open arms.

The crux of it is the choice. That death can't touch you until you choose to allow it. And those who become Masters of Death, would always eventually choose to greet death, as these are the type of people the 3 Hallows would choose. It's all about choices.

(For the record, yes, I think there could be more than one MOD, I think Ignotus was until his death, and then in the books, Harry is)

And considering how much emphasis is put on choices and intentions in the magic of this world, it seems only right to be so relevant here too.

Like with the Mirror or Erised, which only let someone who wanted to have the Philosopher's Stone but not use it, have it; the Hallows won't choose a master who wouldn't, eventually, be willing to accept death. Because mastering death, isn't only not dying, it's understanding it, and accepting it. Both the deaths of others and eventually your own.

Also, as I mentioned above, I headcanon that Harry could pull Sirius out the moment he fell in through the veil. I don't think anyone but Harry could. I believe, as a Master of Death, Harry is the only wizard (well, being) that can go into the afterlife, walk past the veil, and come back out. A Master of Death is the only one who the afterlife isn't a one-way ticket for.

(Although, I think it's possible that if you wear the invisibility cloak you might be able to pass into the veil and come out even without being the MOD, but, I wouldn't bet on it)

Summary of my thoughts

The afterlife exists in the Wizarding World and nothing that passes beyond the veil can return. It's a one-way ticket.

The scene in Deathly Hallows with Dumbledore in King's Cross station limbo didn't actually happen.

Death, as a deity of sorts most likely doesn't exist.

The Peverell brothers were powerful wizards who made the Deathly Hallows and perhaps the veil too.

The Resurrection stone can't bring a soul back from beyond the veil so it does the next best thing — reviving an illusion of a memory.

All 3 Deathly Hallows are very sentient magical artifacts like the sorting hat. Each of them is very picky when choosing its own master.

When all 3 Hallows choose the same master, this person is the Master of Death.

Being the Master of Death means the MOD won't die until the time of their choice. But the MOD will always choose to die eventually because that's the kind of person the Hallows would pick.

There can, over time, be more than one MOD (not at the same time though). And it's possible Ignotus Peverell was one, in a way.

The MOD might be the only person who can go into the veil and come back out.

The invisibility cloak might also allow you to make a trip into the veil and then back out.

#harry potter #hp #harry potter thoughts #hp thoughts #harry potter theory #hp theory #hollowedtheory #wizarding world #asks #death harry potter #Peverell brothers #hollowedheadcanon #deathly hallows #master of death #hp magical theory

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lucystark12 · 23 days

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how to convince the ga that byler isn't rushed (kind of just a rant about lettergate)

they need to and i mean NEED to vecna mike because the only way the ga will understand that byler has been built up since the beginning is if we’re given scenes in context. we as bylers obviously get it but byler is at risk of being labeled “too rushed” if they don’t put effort into referencing the important parts of mike’s feelings developing.

the audience doesn't really have a problem with believing that will is gay and in love with mike because there are things in his arc that are just obvious and clearly point to that.

but mike on the other hand is in the middle of a love triangle. unlike most of the other main characters, mike isn't open about his feelings. we don't get his internal monologue. he doesn't tell others how he's feeling. thats why its so easy for bylers and milevens alike to interpret his every move in either direction. it's purely because we don't know. so, in season five, there are things they have to address and give concrete meaning to so that people understand how byler actually does make sense.

the most important scene that i’ve already kinda talked about to do this is...

this one, obviously, the most important little part of all of byler's season three. i want vecna talking about this. i want mike thinking about this. it’s crucial. it’s essential. his behavior here is weird as hell! it even reads weirdly in a script that was released and then edited quickly after. it's important and it needs to be addressed and treated as such. in the script (forgive me if i'm off, i don't have a copy of it so this is from memory) it reads as "what's wrong with me?" that obviously points our way, but since we don't get his internal monologue there's no way to be sure. it needs to be addressed.

this is also kinda lettergate proof because i think the unsent letters and the fact that mike did try to call will also be essential to proving what was going on with him during the gap between season three and four. if i were in charge of the show, i would do a whole flashback sequence to these six months. i want to know exactly where he is, what he’s doing, what he's thinking, how the people around him are reacting to his behavior. we need a shot of the love, mike. it's SO IMPORTANT.

literally i could scream about how important (and likely) lettergate is.

one thing that REALLY scares me about lettergate is the possibility of them reddieying us. yes that is now a verb. for any of you who never had an it 2017 phase, reddieying is where richie and eddie, two characters, had feelings for each other but never admitted it. at the end of the movie after eddie dies, we get this scene:

this is what i like to call reddieying. and yes that is also finn wolfhard. this is why we are scared.

the letters could be used in a VERY similar way if either mike or will dies to express the love that they both once had for each other. closure of sorts. i think that would be VERY poor writing (we've all heard my theory about how mike's love for will is literally essential to the ending of the show) but i think it's highly possible especially given the overlap between it and stranger thing's fandoms. the letters could be read at the end in a similar way to the way hopper's was, sad heroes and all. this draws another parallel.

yes i am bringing newtmas into this. fuck you.

above is a letter written by newt from the maze runner to thomas. newt is confirmed gay by the author of the book, and this letter is written to thomas but never read by him until newt dies. letterboxd reviews of this movie read:

"that letter at the end was the gayest thing I’ve ever witnessed and I’ve seen call me by your name."

"homophobia is thomas reading newt’s declaration of love and the shot cutting to thomas scratching his ex’s name into the rock ABOVE newt’s"

"newt, to thomas: "and i remember you. [...] i knew i would follow you anywhere. and i have." me: *im ready to be queerbaited again meme*"

and i didn't even have to search for these. these were like the top couple reviews of the movie. they were all on the first page of reviews.

all i'm saying is, by having the letter be an idea in our minds, they've set up a way to kill off one of the characters and still have a slightly resolved, weirdly up to interpretation ending. i do still think it's poor writing. i could kind of go into that too if anybody is interested.

i think that if lettergate is used as a device during mike's flashbacks to show how long he's felt this way that they will be using this thing they've set up for good, however, if they newtmas us and reddie us i might die. just letting you know.

#stranger things #byler #mike wheeler #will byers #byler nation #byler is endgame #byler brainrot #reddie #newtmas

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nalyra-dreaming · 2 months

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to put all the cards on the table... (and now that we have that teaser... oooofff). i read the books, but i want to put my obsessive detail lover glasses on. anne is really nuanced in her writing, so yes i totally get lestat is not how louis described him (more or less 👀), but just in a vibey way. to make a specific list, what is that 20% that louis got wrong in your opinion?

That Louis got wrong? :)

Hmmm… So first off I do not think that what we saw of Lestat in that video (aka the rockstar persona) is how he looked when he was with Louis in NOLA.

Then again… Surprisingly close, isn't it?^^

So to get into this I need to explain my view of this a bit. Kidnap your ask, if you will^^

Louis describing Lestat: strands of hair down the sides of his face, unkempt a bit wild hair (at times at least). If his hair isn't done in some kind of fashion (opera, french pony tail etc)

I said it before, I think these strands down Lestat's face are indicative of Louis' POV (own) memories.

Which brings us to this small excursion on the subject. There's the evil step-mom bob, when Claudia comes in, and which is repeated outside in 1x05:

Hair lengths aside, we now know that Lestat was just as bloody as Louis from the trial revisit (see below), which was supposedly the truth, but in any case "no scratch on Lestat" has never made much sense. Meaning the force-feeding likely didn't happen either...

.... and the drop... well. Supposedly did. Even though he is quite clean again?

Because... that is still very far from what we (supposedly) saw as the "truth" of Lestat's bloody face in the coffin room just before, which we were shown at the trial:

I think the evil step-mom-clean-and-glorious-looking Lestat is Armand's tampered-with version.

Because... going through this because I think we got Louis' POV and actual memories of Lestat more in the beginning of season one.

There are a lot more instances of the "strands down his face"...

Btw, see this? Of what was used by Daniel to prove an "error" to the tale in 2x08? To prove Armand's manipulation?!

Right after the scene... he has them again:

Even Claudia's POV has them!

Even when she absolutely hates his guts:

I think every scene we saw with Lestat either in made up hair or with the strands down his face are ... "as real as it can get in a tale".

And the other scenes... the perfect blond hair ... is not.

Which brings us finally back to your actual question:

What is the 20% Louis got wrong?

And... I'm not sure Louis really got him that wrong?! I think Louis misunderstood some things, didn't know a lot of things, and Lestat fucked up others. They didn't talk enough. And sometimes love makes you desperate. They knew exactly how to wound the other.

And Armand... meddled with the tale. I said it before, the "train scene" cannot have happened as shown. The hotel likely neither.

I think every scene where Lestat is an "evil bitch with perfect hair.".. is a meddled with one. Given Armand's goal of influencing the tale? Namely making Lestat seem as bad as possible, while being unable to hide his own fascination with him? Makes perfect sense to me.^^

And there's actually not that many of them either. The outside of episode 5, the tractor salesman, the train, the paranoia driven one in 1x07 has strands again, while he does not have them the scene before and through a lot of the remaining last episode of the first season.

As such the little comment in 1x07, "the king's hair has betrayed the king".... takes on a third meaning, imho - not only a quip by Louis on both the "hair" on the floor and "heir" (Claudia)... but also that the "hair"... betrays the "king"... the leader - the coven master vampire meddling.

Layers, upon layers, upon layers.

So what did Louis get wrong?

Not that much actually, I think. But... some of the key scenes were not his. And those were therefore, in the sense of the words, wrong.

#Anonymous #ask nalyra #show of the decade #amc iwtv #iwtv #amc interview with the vampire #interview with the vampire #lestat de lioncourt #louis de pointe du lac #loustat #iwtv armand #armand #iwtv meta #vc meta #interview with the vampire meta #hair #hotel #train

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franzkafkagf · 4 months

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The fact that Aegon loving his children it’s even book canon. TGC is describing Aegon’s personality as it is hinted in the book and yet people is mad.

Tom literally acknowledges he is not a good parent but he loves his children.It makes total sense that he would have a complicated relationship with fatherhood based on how his father treated him. Or that in his mind, he wants to be better than Viserys.

Thank you anon! You're exactly right, we've always known from the book that he loved his children. Adding onto that is that we have barely seen 20 minutes of Aegon until now, if the early reviews are true we'll get 15 minutes of Aegon in the first episode ALONE. Of course we find out much more about the character, we barely know anything about him!

This made me wonder; what do we know about Aegon?

We meet Aegon for the first time in episode 3 of season 1. He is just a two year-old who plays with a wooden dragon toy and yet the older characters around him only see him as a threat, a pawn or, by his father, as a replacement— watching the episode it's clear to me that Viserys wanted Baelon, Aegon cannot be Baelon. It's pretty telling that the only positive on-screen interactions Aegon has with his father are in this episode. He is a little kid still, Viserys can project his wishes and fantasies about Baelon onto him, something he isn't able to do once his son is grown up.

I think it's pretty crucial to understand this part of Aegon's and Viserys' relationship— the perfect ideal of Baelon (he killed the only woman he ever loved for the perfect son; you cannot come back from that) stands between them, like a shadow Aegon could never escape and a standard he could never meet.

We don't really see Aegon again until episode 6— he is a teenager now and thus a completely different person. The little baby from episode 3 has been shaped by years of neglect, unfulfilled expectations, and the toxic dynamics within the family. What has he become? He is a 15 year old with problematic relationship to alcohol that is used as the punching bag of the family. He jacks off from windows (welcome back Roman Roy!), leers at maids and bullies his younger brother.

Teen Aegon is perceived as a disappointment by his grandfather, who sees him just as a weakling and a pawn to be controlled (a belief he still holds at the start of season 2 apparently). His mother projects her own ambitions, resentments and fears onto him.

These behaviors are all very troubling and someone should've done something to prevent these habits from festering within him; no one did. I honestly feel like no one really cares about him that much.

And yet, there is also so much postitive to be said about this iteration of him too, glimpses of Aegon's potential for goodness and his capacity for loyalty. You might call it naivety, but Aegon seems to believe in the good in people— he trusted Rhaenyra not to hurt him or his brothers if she was to become queen (something I agree with). He also seems to treat his nephews well enough, he doesn't seem to care about the bastard-allegations -> he also seems to be friends with bastards as an adult! Eddard Waters belongs to his entourage, this informs his character— yes he is an entitled prince, but there's also an element to him that is endearingly down-to-earth.

Another notable example is in episode 7, he decided to protect his mother after Aemond blamed him for spreading rumors about his nephews' legitimacy . He never cared about the rumors, yet he stood his ground and shielded his mother when faced with his father's wrath.

Ty Tennant does such a great job here. The scene highlights his complexity— he is not simply a drunken disappointment, a villain or a victim, but a young man trapped in a situation he doesn't seem to be able to get out of.

When we next see Aegon, he is in his early twenties, and the toll his upbringing took on him is evident. His introduction in episode 8 is a hefty one. He is shown sleeping off a hangover, his drinking habit from his youth has fully established itself in him. His mother yells at him, tries to get him to understand the consequences of his behavior— he has raped a maid, something that, disturbingly, is not new for him. This moment speaks volumes about the man the little boy from episode 3 has become: flawed, morally compromised, and numbed by his vices.

Further even, Aegon engages in activities that reflect a deep-seated cruelty and a disconnection from others— watching toddlers rip each other apart in brutal fights shows his general desensitization and apathy to everything. These behaviors are obviously unacceptable, but this is a fictional character we are talking about and you know what these behaviors tell me about him? These are just manifestation of the dehumanizing effects of his upbringing.

He is desperate to be loved but destined to be hated — Tom Glynn Carney

Because characters can be multi-faceted and complex, Aegon fights off insecurities and still yearns for love and acceptance from those around him. Him acting out like this can be read as misguided attempts to drown out the background noise, to try to assert control in a world where he feels constantly undermined and unloved. However, his actions only serve to alienate him further from the people he wants to be accepted by.

Aegon's aversion to the throne and his rejection of the responsibilities that come with it are just other manifestations of his deep-seated apathy. He despises the very idea of kingship and what it represents. He doesn't want to take up responsibility become a pawn, he yearns to run away but he himself knows that he will never be able to run.

The carriage ride to the sept and the coronation are gifts that keep on giving. It's all so horribly tragic. He never wanted this. Crowning him will kill him, he knows this is his end deep down!

He is so preoccupied with what his father wanted, Baelon is absolutely still haunting the narrative— his father's desire for him to embody virtues he never possessed or could aspire to (BAELON) are still at the forefront of his thoughts.

As he walks to receive the crown, he is literally crying, this single moment encapsulates it all so well. He is man who, despite his privileged position, is trapped by the very power and responsibility he was born into but never desired for.

But then, at the very end of episode 9, we see a shift in Aegon— something else to him that will be at the forefront of his character in season 2. He finally gets the adoration and the purpose he always sought after with the crown. The moment he realizes that the smallfolk is cheering for him is the moment the apathy that defined him up until now begins to lose its grip, replaced by newfound determination.

This change in Aegon will be furthered by the death of Jaehaerys, a source of pride and a reminder for him that he is capable to create and care for something precious and pure (thank you TGC) -> I won't go into this deeper, let's wait until the season airs.

In conclusion, a wise woman once said that apathy is death. For so much of his life Aegon embodied apathy, only for the very thing he feared most (kingship) to make him rethink everything. Aegon will be driven by his determination, but this path will lead to his destruction, consuming him until there is barely anything left of him. It will ultimately tear him apart; he is both redeemed and ruined by the weight of a crown he never wanted.

#aegon ii targaryen #tom glynn carney #hotd meta #hotd #princess i love you.#house of the dragon #ales.txt #asks #vizzy t you done fucked up #my writing #my creation #aegonposting

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tossawary · 11 days

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I found a beaten copy of the "Star Wars: Shadows of the Empire" novel (set between Ep5 and Ep6) in the thrift store and I'm trying to read it. I thought, "Oh, this was written in 1996, so that's before the prequels or any of the more recent shows. Even if this isn't good, it's not a long book, and it'll be interesting to catalogue some of the differences in world building and vibes."

And then I actually tried to read it and, uh, I would call the writing "competent on a basic level but not sophisticated". Like, I was trying to read some of the "Jedi Apprentice" novels earlier and I guess I was expecting, hm, something a little more advanced than those books? It's serviceable! There are many turns of phrase that I enjoy! It's just not as compelling stylistically or in world building as I might have hoped. And it wasn't long into the book before I was like, "Oh, right. Ah. Hm. I forgot what it was like to read Older Sci-Fi Written By A Straight Man. Of course, the main villain has a human-looking killer droid assistant who looks like a sexy blonde woman! Of course he does! Of course!" None of the characterizations are great, but the Leia POVs are making me since.

I'm having trouble taking the main villain seriously because he's just... he's just not interesting. Prince Xizor's secret backstory where his family's deaths were Darth Vader's fault are revealed to us in Chapter 3 via narration, he's just thinking about it, and it's like, "Well, that seems like it could have been saved for a more dramatic reveal later." And generally, he's such a Batman Gary Stu of a character so far: he's an unfathomably wealthy businessman, he's also an interstellar crime lord, he's also a master of martial arts, he's got an impeccable poker face, he's Vader's rival, he knows everything because he has spies everywhere, and the narration takes the time to tell us twice in 3 chapters that he is (and his species is) very, very sexy. Reader, you MUST know this. Trust us.

And I was reading these descriptions of him thinking, "This style of introduction reminds me almost EXACTLY of something else... but what...? OH. He's getting introduced like a HARLEQUIN ROMANCE NOVEL MALE LEAD." Which is super funny because Wikipedia claims this villain is supposed to try to seduce Leia later in the book; an attempt that the publishers apparently wanted to be successful but the author refused to do, fearing fan backlash. Which is just... thank fucking goodness, I WOULD have been pissed off, yes. WHY would Leia fuck this guy? Everything about him suggests she would choke him with a chain like she will with Jabba the Hutt. Let this woman have her loser smuggler with a heart of gold boyfriend!!! I hope she gets to shoot at this guy for a seduction attempt, but that won't make up for how incredibly boring this character is to read about in his every single scene.

#tossawary star wars #tossawary reading #shadows of the empire #prince xizor #leia organa #spoilers #character death

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kabukipookie · 7 months

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Hey I’d like to request nfsw Yae Miko and M!reader, haven’t seen many fics like this so the premise can be whatever you like :) Ty

Fulfilling a Fantasy∘⁠˚⁠˳⁠°｡⁠☆

★⌒ヽ(´ ❥ SUMMARY`)

Finding yourself at a creative stump, Cheif Editor Yae Miko was happy to help you explore the assigned genre ; Fantasy

ᝰ.ᐟ ⤵ cw + genre

Dom! Yae Miko x amab! reader

use of 'baby' & 'dear' , praise, begging(reader), fem dom (miko), cunnilingus, i did my best- please leave constructive criticism!

ᝰ.ᐟ ↪ wc 1.9 k !

@kabukipookie × TMBLR original work

a/n at the end ♡ (⁠☆⁠▽⁠☆⁠)

INTERACT AT YOUR DISCRETION ❤️‍🔥

Being a freelancer in Inazuma before the Vision Hunting Decree was abolished was a bit harsh. The state of affairs had a severe effect on your creative inspiration.

Despite this, you had to pay bills. You had a due date to get a draft for a new book to the executive editor. Miss Yae Miko.

The prompt was also so very unclear. Just what did she want? She's never been so vague. Maybe the market isn't doing good.

Once establishing yourself as a writer, god did it have its ups and downs. . . But, worries quickly dissipated after being scouted as an exclusive writer; Your works would be carried by Yae Publishing House.

Meeting her for the first time was a scene. How did she know how to get under everybody's skin? She knew exactly what buttons to press.

You received a letter from the Publishing House, and later a meeting was set to discuss terms.

You had to hike up to meet Miko, the shrine maidens were a bit more than confused however; She never had people visit above.

The meeting went about as well as it could, you didn't know it was unusual for her to specifically invite someone up to the shrine.

Work was stable, a dream you never thought would be fulfilled.

Yes, the current affairs were an obstacle, more so was the fact the Chief Editor was being so unresponsive.

There was hardly any tension between you two. Y'know, ignoring how you couldn't hold eye contact for anything longer than a glance. Or how the tips of your ears burned whenever her soft fingers glazed yours when passing manuscripts back and forth. A smooth melody played; soft instrumental. Her lips echoed the tune, humming.

It's like this world was made for her, Miko was too perfect. Her presence was perfect, and the scenery around her... Arguably created purely to extenuate her lovely features.

It did feel a little intense when you walked to the Grand Narukami shrine. The day was breezy, pretty pink cherry petals danced in the sky.

From monthly, to weekly walks to visit your boss, the scenery was always so lovely. You couldn't get too mad at the envoy, you'd be enthusiastic about living at such a beautiful peak of Inazuma.

Knuckles clacked against the pristine door, and you hear shuffling before a familiar voice said "Come in."

Sly as a fox, brimming with mischief it felt like. Recently, she has been unusually preoccupied. Stress, probably.

You didn't however, know the days she was taking off and ignoring your mail, she spent fucking herself on her fingers.

It's never easy to be an executive editor, let alone the responsibility of the grand priestess... Once you spoke to a shrine maiden, they led you to Yae Miko's residence.

You enter the building, tote in hand. you spot Yae Miko with her knees folded on top of a tatami mat.

"Oh, Y/n. What could I assist you with ~ ?" She makes a gesture to come sit across from her.

"Ah, I hope I'm not interrupting anything, Chief Editor." Timidly, you take a seat and open up your bag.

"Of course not darling. It's my responsibility to help the Inazumians of today."

Straightening out the papers, the ones with an outline as well as some ideas you had jotted down.

You stifle a small grunt of amusement.

"Hm? Something funny, dear?" Her head tilts cutely to the side

"Miss editor, I'm a coworker. I do find it a bit funny how seriously you speak to me, but otherwise.." You trail, she looks more relaxed. The atmosphere felt very tranquil.

"--Its just I'm not quite sure what you mean when you told me to write a "Fantasy" Novel. . . I don't mean to be rude, but you know I only have experience with realism."

A nervous look was etched into your features.

You see a smirk at the tips of her pink lips, as she outstretches her arm to begin looking through the papers.

"Oh dear, I guess I should've been more descriptive? I apologize, I've just been so... Busy. Yes that's it "

Her smooth voice infiltrates your ear, diverting your attention to the plain floor. The sound of papers ruffling continues.

"I can try! Do you think you could help me brainstorm? I'm unsure of how to start something like this. I won't take too much of your time, Miss."

She places the papers to the side, fingers finding your shoulder, rubbing gently. Lifting your face to meet her eyes, there's something sultry in her touch.

"Of course, I'm more than happy to."

She leans forward, your cheeks flushed.

Face felt warm and you started to stutter.

"T-Thank You. So, where should we start?"

You contemplate for a minute, restraint quickly leaving just as your resistants did. Her eyes felt like they drilled holes into your being. She's practically stripping you naked in her mind.

"Your fantasies of course. Mind telling me a few? Just to get to know what you have going on inside that head of yours."

You blink. Huh?

"I'm not sure that... Uhh..."

"Y/n, don't be shy." Her hand moves to your neck, rubbing a circle with her thumb before as she continues.

"What comes out of your mouth today is prayers. Okay, Dear? As a maiden, I'll keep your secrets." Her lips find your neck, littering your collarbone with feathery open kisses.

She quickly pulls back and stares at you as if this was a usual meeting between you both.

Hopefully, you plead with the gods to let this become a common occurrence .

"So tell me." The way she said it was so obviously a demand, could you do anything but obey?

"Uh.. I don't have many fantasies. It's quite.. Err.. fulfilling to be a writer. Especially with an editor like yourself." You toss her a nervous smile.

"Quite the sweet talker, now..."

The way she looked at you, like she wanted to just..

Eat

You

Up.

Working with Yae Miko isn't easy, the way she's so cunning makes you feel almost insignificant. . . However, Now? It just made the tightness in your briefs feel so... Uncomfortable!

She finds her way on top of you, hips straddling yours, cunt pushed up against your member.

Your hands find her hips, pulling her closer and practically high off her scent. Peachy, sweet. Every part of her overloaded your senses, every bit of you felt so weak against her.

"This is okay right, Miko?" You look for confirmation before exposing her chest. She smiles, almost too innocent compared to how she was keening to your touch, panties were damp and god, you could feel it.

"Let me tell you something, Dear." Her tongue slid up the shell of your ear.

"My fantasy is you." Her voice was airy, you felt like you were dreaming. "Indulge me m'kay? I wanna hear you beg to touch me, can you do that for me?"

"Yes!- I mean, of course, Miko..."

You pull her in for a kiss, it was so kind. Too sweet for the way you wanted to be ruined by her. Too sweet, in contrast to your mouth being invaded by her sweet scent. The way she craved her pussy to be spread with your tongue, she needed you now.

"F-Fuck… Miko…" You feel her smile against your lips as she sways her hips.

"Please let me undress you." Eyes glimmered, gaze softened, "Who baby?" Yae slyly says.

Confused, you spit out the first word that came to mind.

"Mommy please.." God... Shame ran through your veins, the kind that also runs elsewhere. A chuckle reverberates through your ears.

"Hmph, You're too precious." She lifts herself from your lap, allowing you to slip her perfectly tailored kimono from her figure.

Touches burned, everywhere. It was like a stinging; without your touch. She needed to feel you, have you bow down to her. Begging her to let her walls squeeze you.

Her supple skin was in view, your lips latching around a nipple quickly.

Her hand grips your locks, tugging slightly while a 'tsk' comes out, alongside a small moan. You look up to her while you continue to suck on her tits like a baby.

"I want you between my thighs, okay Baby?"

"There you go.." Yae Miko coos, petting your head as you are between her knees. Her kimono was undone at the front, and hair cascaded over her shoulders. Your hand finds her inner thigh, face to face with her clothed cunt.

Sliding your finger to the band of her panties, you remove the garment. Her pussy was so pretty, walls fluttering around nothing while it gushed out sweet nectar you wish you could drown in. You flick your tongue out, licking her thigh before gently biting it. Your hands had a firm grip on her thigh and waist respectively. Soothing circles were being drawn on her tummy, thighs were being gently sucked on 'till they were bruised and pink.

"Ah! So good, Baby, mhm.." Yae Miko lets out a low groan, hand holding a fist full of your hair as a dark hickey begins to form on her pale smooth thigh.

"C'mon baby, taste me." It was a command, one that made you drool.

Taking a breath, you mumble.

"You taste so good…"

It comes out messy, like the way your tongue is preoccupied with stirring up her tight cunt. You felt slender fingers grasp at your scalp again, just harder. Demanding. You take that as a sign to push your whole muscle into her hole.

"Haahh~! Fuck. Yes-Yes..!"

"F-fuck… You're doing so well baby…You're so desperate. So n-needy."

Finding her clit with your fingers, you gently rub her clit while your tongue dips into her heat.

Licking up her slit, you spread her pretty lips and look into her eyes before diving back in like a starved dog.

"F-fuck-! Haah, that feels so good~!" she moans out, breath light and thighs twitching.

"I-I'm gonna cum... More..." She keens, laying her back on the floor as you go down on her, slurping up every drop of her slick. Increasing the pace on her clit, her back arches into your touch. Her ears are twitching, you feel a fluffy tail thump under your lover's thighs. Such a display, one to savor. If only you could engrave this in your memor-

Light thumps echo from the entrance.

Clack clack clack

You pull away from her core, looking at her face. You're messy with wetness, a tent obvious in your pants.

Visibly annoyed having an orgasm interrupted, she straightens her garments and mumbles "One minute..."

Glancing at you, she leans in for a last, wet sloppy kiss. Miko practically eats you whole, she tastes herself on your tongue. It was so... sloppy.

She grabs you, hand on your cheek after quickly tying her kimono.

"You did so good for me. Did I give you a bit of inspiration?" Her eyes bore into yours, other hand grasping your arm.

"Uhh- Y-Yes. Very much so" You adjust your arms, instinctively hiding your very warm face.

"Well then, I'll let you get started with a draft. Okay? I apparently have matters to attend to..." A wink graces her face, you watch as she slips out the door.

Sitting there, you guess it's only natural for an editor to help her precious writer in need!

hi!! this is my first real fic i guess.. feel free to flood my requests! im a slow writer and im unsure on how to end smut.

either way, thank you for reading. if there are any typos plz lemme know.

much love! - vibi

#yae miko x reader #yae miko x reader smut #male reader #reader insert #genshin smut #genshin impact smut #divider by benkeibear #°^° archive #kabukipookiedookie

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