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ben-the-hyena · 2 years

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The fact I fell back into my Egyptian phase made me remember a French movie of my childhood, La Reine Soleil. It might not have been my favorite (sometimes the plot and 2d-3d animation were clumsy, its incorporation of magic felt weird and even as a kid I was not a fan of using real people who existed for fictions such as here Tutankhaten "Tut" and Ankhesenaton "Akhesa") but that allowed me to remember Gulmekiz and that i loved him

Context : Akhesa and Tut found about the plot against Akhenaten and his family and are run after by corrupted guards (ALL WHILE Hittites are threatening to attack) with the official reason that Tut kidnapped Akhesa which is of course a lie and an excuse. So the 2 kids are runaways and at some point hide inside a fisherman's boat. Said fisherman Gulmekiz finds them and from his POV and since he has no idea who they are thinks they are 2 stowaway orphans. He first sounds harsh and cruel demanding that if they want to stay and eat they better earn it by working and even forcibly taking Akhesa's bracelet as earring as payment

But it's because he is not very rich and that any food given to others or time wasted not fishing is a loss of precious time and money, it was a time where you had to be harsh to live if you were not rich. As he says (unpictured because of Tumblr 10 pics limit) he earned his food with the sweat of his brow and to him these 2 little thieves must learn to earn their life honestly by working. Which is technically charitable for the time period, as he says he could have knocked them overboard and yes he does laugh when they struggle but he doesn't mostreat them

This is when he starts to look sympathetic to the viewer. At night, after Tut and Akhesa feel asleep exhausted, not only does he raw alone and let them sleep, he takes the time to pause his rawing to put a blanket over them, even arranging it to make sure it covers them fully, and smiles at them tenderly. Which proves he got attached and is not bad, just strict

Later, as they arrive to Thebes and spot guards and know they will be be recognized and spotted, they hip overboard with no time to explain Gulmekiz the situation, he gets alarmed knowing there are crocodiles around and cries at them to come back (again, unpictured because of pictures limit, but he looks HORRIFIED and rushed to the edge of gis boat shouting). But once seeing they are safe and sound on the shore, he happily accepts they are gone and welcomes them to come back working with him whenever they would be needing to

This is when he arrives at the port and is asked if he saw them and that way learns who these teenagers were all along. He is of course VERY shocked (he treated the daughter of the pharaoh and another noble poorly and had them work I too would be shitting myself at the idea of the consequences if I lived under a theocracy) but still has the time to see something is fishy (if she were indeed kidnapped, why was she and the boy getting along ? And it kinda is convenient since she and her father are monotheists while every other high figure is wanting to be polytheist again right ?). So he plays dumb which irritates the guards and pretends not to know what they mean, in a matter of seconds as shocked as he is. Superb analysis and improvisation skill, dude. Protect these kids and fuck the police

Yet of course he doesn't want trouble again. So when Akhesa who is all alone (Tut got kidnapped by the Hittites for a ramson) comes back to him, he initially panics forbidding her to approach. But once she gets on board anyway and that time roles are reversed and he has to obey her since she finds out he does know her status now? he accepts grumpily grumbling. Yet as illegal as it is since she is searched and since he probably, knew given his previous scene, that she wasn't truly looked for for her good, he still helps. He grumpily breaks the law for that kid

Yet he can't help but notice the boy is not with her and he asks her where he is. To which she does not reply but cries instead. To his POV, this response could mean anything. He is dead, or he got captured, or they got separated and she is scared and alone (which she is). Whatever it is, he looks shocked, covering his mouth. They may be royals, they are in age to be his kids, and he did grow attached to them by working with them. Plus, at this moment of the movie, Akhenaten got betrayed with a coup and executed which is something all Egyptians must have heard about, so he must also know she is now a real grieving orphan and that she lost everything, even her status and riches

So what does he do ? He gives her back her "payment". Which he had forcibly taken anyway, and because he figures she would need it more than he does, as poor as he is. And when she looks at him questionningly, he just looks away and smirks. Omg feels

And once the coup is broken and she and Tut get back their titles and are bethroted as the ones true heirs, he eagerly cheers for them on the front of the crowd, super happy that they are well and that they got back what they deserved. And the couple of teens don't snob him, they are happy to see him too, Tut waving at him and Akhesa winking at him (unpictured again)

This is a Gulmekiz appreciation post

#la reine soleil #gulmekiz #gotta love how then he tries to flirt with Maya (the woman in the last gif) who is just plain disgusted lmao #dont worry boy you deserve better than some stuckup bitch (kidding I love her too she is funny as Tut's protocol obsessed governess)#Akhesa #tutankhamun #gif #i made it myself #i could give the link to the English subbed movie i took these screenshots from but it is a very bad subs so I don't think #the base plot line is kept but full sentences and jokes are cut out and they flex by replacing words with Ancient Egyptian ones #plus sometimes theyre late or last too long or unreadable or just make no sense or forget letters (like the last gif) or words (7th pic)#moi #post #something else I like in this movie is how caried Ancient Egyptians are instead of choosing one race like a lot argue #some are black (Tut) some are closer to the ancient equivalent of Modern Egyptians (Gulmekiz) some are mixed (the royal family)#heck at some point one even has white skin without looking European which meant he was probably what Ancient Egyptians called Lybian

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william-shakespeare-official · 1 year

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Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet. Andrew Scott's Hamlet is here.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one is the Shakespeare Retold modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

#adaptations #macbeth #hamlet #king lear #twelfth night #much ado about nothing #henry iv #henry v #richard iii #julius caesar #timon of athens #troilus and cressida

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mystacoceti · 10 months

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I started reading The Sentimental Education today and I feel like I finally understand where certain aesthetes' insistence that irony means a severe disidentification between audience/author and protagonist comes from

#like. I think a lot of my introductions to Real Literature were (first of course) high school English classes and after- on my own English+#+high modernism with Hesse and Kafka mixed in #but then I got out into into wider and world and it seemed like everyone had heard of this very specific concept of irony #that even though it seemed to barely pertain to a lot of things I'd read it was THE watchword for a lot of people's evaluative judgments #both of prose works themselves and readings of those prose works #well johnny come lately. c'est moi

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writingwithcolor · 6 months

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Non-offensive Historical terms for Black people in historical fiction

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I'm not sure how to address race in the narration. I do have a Black main character, and I feel like it'd feel out of place to have the narrator refer to her as 'Black', that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.

African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”

The place of origin could also be used. For example, “a Nigerian woman”

Africo-American documented as early as 1788.

People of Color documented as early as 1796 (with specific contexts, usually mixed people)

Afro American documented as early as 1817, 1831 (depending on source)

Black American documented as early as 1831

Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized.

Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).

Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.

Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.

“You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people

Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)

Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.

Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I'm sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different.

Mulatto referred to mixed people, generally Black and white, and is offensive today.

The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance.

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people.

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

½ : mûlatre or mulatto

¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)

1/16 : mamelouk

¾ : griffe or capre

⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

NYT: Use of ‘African-American’ Dates to Nation’s Early Days

The Etymology dictionary - great resource for historical fiction

Wikipedia: Person of Color

#Black #terms #words #historical fiction #Black history #Creator Responsibility #racial slurs #slurs #asks

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trans-cuchulainn · 5 months

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i don't have the words to articulate it at this moment but there's something about the way that people have specific expectations for "authenticity" and will dismiss anything that falls outside them as a mangled, anglicised version of the thing when actually that is the older and more traditional form of something, it just doesn't match their expectations. obviously in my personal experiences i'm mostly talking about medieval literature here especially medieval irish literature

sometimes this is as simple as spelling – i've had people argue that the name "finn" is anglicised and it should always be "fionn" to be Really Irish, but "finn" is an older spelling, glide vowels are later, if you wanna go real far back it'll be "find" (nd in place of nn is an older spelling pattern). or they'll hear someone say "ogam" and assume they're mispronouncing "ogham" due to lack of knowledge of irish and not consider the fact that medievalists tend to use the older form of the word. or they'll Well Actually you about "correct" terminology which wasn't standardised (and/or invented) until the 20th century

a lot of this is defensive and the result of seeing a lot of people ACTUALLY get this stuff wrong and have no respect for the language. in that regard i understand it, although it becomes very tedious after a while, particularly when people sanctimoniously declare something "inauthentic", "fake", or "anglicised" without doing enough research to realise it's not trying to be modern irish and is in fact correct for older forms of the language

more often however this search for the projected "authenticity" is ideological and has much larger flaws and more problematic implications. "this can't be the real story because it's christian" well... that's the oldest version of the story that exists and it postdates christianity in ireland by about nine hundred years, so... maybe question why you're assuming the only "real" version of irish stories can't be a christian one? this is especially true when it comes to fíanaigecht material tbh, but in general there seems to a widespread misapprehension about ireland's historical relationship with christianity (i have seen people arguing that christianity in ireland is the result of english colonialism which took their "true" faith from them... bro. they were christian before the "english" existed. half the conversion efforts went the other way. please read some early medieval history thank you)

however i also saw someone saying this about arthurian literature lately which REALLY baffled me. "we'll never have the Real arthurian stories only the christianised versions" and it was in the context of chivalric romance. buddy you are mourning something that does not exist. this "authentic" story you're looking for isn't there. that twelfth century story you're dismissing as a christian bastardisation is as "real" a part of this tradition as you're going to get

#in general if you do not want christianity in your medieval literature maybe arthuriana is not the best choice #it is. so fucking christian #as for fíanaigecht. did they think st patrick was there by accident #the arthuriana comment took me out though.#the christianised versions. of chivalric romance.#YOU MEAN THE CHRÉTIENISED VERSIONS?? IS THAT THE PROBLEM?#anyway this is not a pro christianity statement this is a pro historical accuracy statement #medieval #medieval literature

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cryptotheism · 4 months

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How many languages do you speak?

You are always talking about alchemist that lived all around the world in very differente time periods. And you have mentioned several times that there's a ton of numerology hidden in their texts, counting syllables and letters of certain words and paragraphs. So one would assume you need to read them in the original language it was written, right?

That's a really good question! As with most really good questions, the answer is "kinda, it depends!"

So! Most alchemical texts are written in some form of coded language, but the nature of that code depends on the era and culture the text is being written in. Depending on how its written, modern scholars have a lot of different tools for cracking open alchemical esoterica.

Most ancient Greek/Byzantine texts are written in postclassical Greek. But, they're often written in dense philosophical prose. The reader needs to be familiar with the likes of Plato, Aristotle, and the early Neoplatonists, to make sense of them. Luckily for us, people have been studying postclassical Greek for nearly 2000 years. There are many excellent translations into English.

Late Egyptian alchemists wrote almost entirely in pictograph code. Not as in hieroglyphics, mind you. Egyptian alchemical recipes often made use of custom character sets and symbols that represented alchemical concepts. (One famous example, the Formula of the Crab, uses a complex diagram that looks like a centipede to represent a particular gold compound.) These are damn near impossible to read without expert help.

At the same time, Jewish and Syriac writers of the era could get by on the fact that not everyone could read Hebrew and Syriac lol. The language barrier itself acted as a sort of copyright system for protecting their ideas. Luckily for us, many of these texts were preserved and translated by medieval Arab scholars!

Speaking of Arabic, once you hit the Islamic Golden Age, the amount of alchemical literature increases by a factor of ten. Thing is, the Islamic Polymaths weren't all that interested in obscuring their work. The Islamic Golden Age was all about copying and translating older works, and compiling them into big textbook/dictionaries. They're not intentionally encoded, they're comparatively easy to read once you get a good translation. Thing is, you gotta know your Neoplatonism. Medieval Islamicate scholars love Neoplatonism.

Then we get the reintroduction of alchemy to Europe around the 10th century. What you get is about 400 years of monks painstakingly translating medieval Arabic into Latin. A lot of these texts are very well preserved, and have good translations into English.

Then, around the late 14th century, European entrepreneurial alchemy kicks into high gear, and THIS is where we get all those fancy numerology encoded alchemical texts. Renaissance alchemists loved themselves some puzzles. This would be fine if they were all just writing in Latin, but the printing press meant they could write in any damn language they please. You get a lot of French, German, Dutch, Italian, and antiquated English alchemical texts, and they can be a bitch to read without help.

BUT the introduction of the printing press also gave us something useful: cheap picture books! Late renaissance alchemists loved writing in word games and coded metaphor, but they also loved including esoteric diagrams. And the thing about esoteric diagrams is --if you know your stuff-- you don't need to speak 15th century french to read a picture. Which isn't a replacement for reading the original translation, not even close, but the explicit purpose of these images was to prove to other alchemists that the author knows what they're talking about. So if you can read them, you can get a damn good sense as to what the text is about.

This was fun to write so I'm gonna plug my patreon if you wanna see me write more about alchemy.

#alchemy #patreon

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prokopetz · 1 year

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I was in my late teens during that short-lived period where everybody and their dog was trying to launch their own graphical MMO, most of which were so short-lived that it was honestly a toss-up whether they'd run out of money and close down before I lost interest. I think my shortest run was some weird all-RP-all-the-time server where I registered, logged in, greeted another player, got chewed out by a nearby moderator for speaking modern English, tried to correct myself, and immediately got banned for calling the moderator "thou".

#life #gaming #tabletop roleplaying #tabletop rpgs #mmos

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dejwrld · 6 months

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summary — international rockstar choso kamo is in love with the international popstar, y/n.

warning readers discretion is advised ⸻ female reader, female anatomy described, written with black reader in mind, mentions of descriptors of black reader (complexion, hair texture, culture), open to be read by all readers, profanity, angst, lovers to exes, told in third pov Chosoi's pov), mentions of drug and alcohol usage, opposite attracts trope, riding/cowgirl position, brief mention of oral (m.receiving), famous au, modern au, he falls harder trope, praise kink, rockstar choso x popstar!reader one shot

sticky note from deja — this was originally another character plot, but urgh i just think about rockstar choso a lot! well i think about choso a lot period. so here's a sweet treat to the choso gaggers.

He liked her more than he had expected. He never was the one to be in a committed relationship—didn't quite go with the rockstar image as an artist, nor did it sell to the public. He thought it was better to sell into the stereotype that rock stars do hardcore drugs, can't remember their flings' names, and show up late to their sound checks for concerts. But here he was, staring at her as she peacefully slept on his chest as if she belonged there.

Well, she did. She was different from the people he pursued romantically who entered his life and exited quickly when they realized they couldn't keep up with his lifestyle. She could handle the throat-cutting hate from fans because she had rabid fans. She could take the intrusive questions from music journalists because she had one of the world's best PR and media training teams.

He didn't want to admit that he was falling in love with her.

But, here, Choso was itching to smoke a morning cigarette but too afraid to wake her because she had a late recording session.

And don't get him started on the reckless shit he did while she was locked up in the studio last night.

"Good morning," Her voice comes off like a whisper as if they were in a library with strict talking rules. She's placing tired kisses on Choso’s chest with a smile.

"Mornin'," Choso mumbles back, his arms resting behind his head. His brown-colored eyes met her gaze when he felt her hand rubbing his thighs. "Don't you have to be at the studio in a couple of hours?" His right eyebrow, embedded with a piercing, raised at her.

She chuckled, letting her hand rub against his cock that had hardened in the wake of morning wood. Betraying him entirely as he's inhaling sharply at her actions.

"I just need two hours with you," She responds. "And maybe one to get ready." She adds before smiling. Her eyes glistened with lust, and Choso couldn't deny that look.

"Help yourself." He responds, getting even more comfortable in his king-sized bed. His hands still rest behind his head because he wouldn't have cared for her to use him as she pleased.

With a pleased smile, she leaned closer to peck his lips before leaving a trail of kisses on his bare chest and traveling downward to disappear under the gray-colored duvet that covered them both.

Choso was waiting for her to notice the impulse thing he did yesterday. Quite afraid of her reaction because maybe he had gone a bit overboard. He wasn't sure she loved him as much as he loved her.

Choso!" She climbs back from under the blanket and quickly tugs it off the two of them. "What the fuck is this?" Her acrylic tapered square-shaped nails trace alongside his waist, and that simple movement causes his pale skin to garnish with goosebumps.

"Surprise cupcake." He gives her a cheeky grin.

"Surprise my ass!"

Just above his waist, stopping right where his white-haired happy trail ended, was her name in old English font.

Y/N.

He couldn't read her facial expressions. Her perfectly shaped eyebrows furrow together in confusion, but her mouth held back a snicker. Y/N's fingers traced alongside the tattoo's outline that imprinted Choso's skin.

"I can't believe you did this insane shit." She stares at Choso and then at the tattoo before giggling. "You're so insane, but I love you for that."

Choso didn't think she knew what she had just said because before he could respond, she was kissing the tattoo so delicately that it caused Choso’s toes to curl in anticipation. Her tongue traces the outline of each lettering on his skin, and Choso could feel the precum on his tip immediately stain his Calvin Klein boxers.

"Fuck!" He breathed out, letting his head sink into the back of his hands resting behind his head.

His boxers were removed, and soon, his body relaxed under the feeling of her tongue licking at the precum on his tip as if it were a sweet delight. He peeks through his long eyelashes at the way her tongue glides up and down his thick shaft before engulfing his cock in her mouth without a care. The sound of Y/N gagging on his cock followed by the sight of saliva pooling out her mouth caused Choso’s skin to heat up instantly. He removed one hand from the back of his head to palm at the top of her head. His fingers fiddle with the silk scarf that protects her hair for the night while he guides her head up and down his hardened cock like a sports ball on a court.

His dark eyes opened and were met with Y/N’s, whose hands flickered up and down his cock before briefly letting the pad of her thumb rub at his plump pink-shaded tip, smearing the precum and saliva that coated it. It drove Choso mad at the way she looked at him. It was as if he was the best thing since sliced bread when, in reality, Choso was just some musician who, on some days, couldn’t even keep his eyes open as he was in the studio high on whatever drug he consumed that morning.

She released his cock with a pop before she removed the remaining amount of clothes. First, it was the yellow-colored Calvin Klein cheeky underwear—she was a brand ambassador for them (of course, he knew that). Then, it was the oversized t-shirt that belonged to him that she managed to look better in. Her brown skin glistened in the sunlight that shone through the high-rise windows in Choso’s penthouse. The warmth of her thighs on his side from straddling his lip caused Choso to smile. His eyebrows raised in curiosity at what was her next move. When he said, help yourself—he didn’t expect her to want to ride him.

His body tensed up at the feeling of her cunt sinking further down on his cock. His body instantly reacted immediately because that was just the charm Y/N had on him. The littlest things could have had his cock twitching in whatever pair of sweatpants he wore. His fingers clutched at her waist while he guided her hips at a pace that was wonderful for both of them to enjoy. Such a little thing like this made Choso realize even more why that insane impulse idea he did the previous night was even more justified. He was in love. He showed it when they had sex. From his last relationships and embarrassing one-night stands that led to signed NDAs, he didn’t care to use them for a quick nut and go on about his business. But with her, with Y/N, he made love to her as if, just in the blink of an eye, she wouldn’t be here anymore. He ate her out as if it was the last thing he had eaten in fuckin’ centuries. He wanted all of her when he had a vision to please her when they had sex.

“Look at you,” Choso’s voice is a sweet, teasing tune, similar to his most recent single. His fingers trace the outline of her stretch marks that connect from her thighs to her love handles. “Helpin’ yourself. Need help?” He chuckles.

Quickly, he’s thrusting his hips upward to meet Y/N’s sudden bounce. He felt her nails piercing his bare chest, bracing herself for his abrupt thrusting. Her plump, kiss-swollen lips gasped apart to let out a moan that caused Choso to feel feral. He wanted to flip her over—have his fuckin’ way with her. Fuck her into the mattress to show to her that she was his and only his. It was the only way—but no, Choso had to let her do her. Let her fuck him how she pleases.

So the grasp he had on her waist loosened. His thrusts that met with her bouncing abruptly stopped, and he relaxed under her weight. The only thing the rockstar could do was glance up at her completely lovestruck—completely pussy drunk.

“Thought you were helping me, hm?” She questions in between raspy whimpers that make Choso’s cock harder.

“You’re a big girl, and you got it covered.” He spat back.

She couldn’t even respond to his words because she got lost in the pleasure of his cock kissing at that spot, which caused her to feel like she was on the fluffiest cloud. Her hips rocked backward and forwards. The headboard clashed against the wall, and Choso thanked every God that the property next to his was empty. He did not have the energy or time to deal with noise complaints. Especially given Y/N’s moans that only grew louder as she bounced on his cock as if it was the most critical task. He was trying so hard not to grab upon her, slam her harder on his cock—milk her out until she creamed on him. But no, he told her to help herself.

“That’s my girl.” His brown eyes met hers when those words of praise fluttered off his lips.

If Choso could look close enough, he could see a sparkle in her eyes, and her pussy clench around his cock.

“You’re doing well, Y/N. Is that what you want to hear?” He teasingly questioned. “You look so fucking beautiful riding me.” He adds, but this time—he no longer could control his impulse to feel upon his girlfriend.

He ached for her touch.

His hand finally found the place on her waist to help bob her upon his cock. His face flushed and was so hot— Choso knew that when his face got as red as the bottom of Y/N’s favorite red bottoms, he was about to cum. He felt his balls grow heavier with each pounce of Y/N, and the only thing he could utter was her name as if it was a lyric in one of his songs charting on the Billboard 100.

“Fuck, I’m about to—” His words were cut off by Y/N.

“Me too, baby.” She huffs, rocking her hips fast to reach her pleasure wave. “Just tell me one thing, baby. Please.” She coos, and Choso can only nod.

Whatever she wanted, she could have. Whatever she needed, she could get. Choso would give her the whole world plus some with how she rode him.

“Tell me you love me.”

“Fuck, Y/N. You know I love you. I wouldn’t get your name tattooed on me.” Choso breathed out.

“But I want you to say it when you cum,” She moans out. “So you have it imprinted on that silly brain of yours who makes you feel like that.”

Choso glanced into her eyes and realized she was serious about this. He was yanking her down so that her chest was on his and thrusting his hips upward, embracing her in a heated kiss that made him feel intoxicated. He was so intoxicated that he was questioning whether he should pull out now. Her teeth nibble at his lower lip just in time for them to come together. The feeling of her cunt pulsing around his cock drove the rockstar insane. When he pulled back from the kiss, his sweat-covered forward pressed against hers as he thrusts a couple more times, ensuring every droplet of his cum stayed inside her.

“I love you, Y/N.”

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