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@abjecter
#ABJECTER. INDEPENDENTใ ค&ใ คPRIVATE PORTRAYAL OF AN ORIGINAL CHARACTER. DEAD DOVE: DO NOT EAT THEMES PRESENT. PROCEED WITH CAUTION. 21+ ONLY.
AFFILIATED WITH. EGOARTE PUTREFACEREM SPOILSOVWAR JOYOUSDEFUNCT.
ใ ค ยนใ คPROFILEใ คใ คยฒใ คPLAYLISTใ คใ คยณใ คPROMPTS
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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CHANGELOG NOTES.
DAFYDD MORGAN โ ROWAN O'HARA. TIMELINE CHANGES: DEPARTS FROM AUSTRALIA AT EIGHTEEN AS A DRIFTER, SETTLES IN AMERICA FROM TWENTY UNTIL TWENTY-FIVE. MURDERS BEGIN IN SOUTH CAROLINA, AND CONTINUE IN ENGLAND AT TWENTY-SEVEN AT THE BEHEST OF HIS BROTHER. TIMELINE IS ADJUSTABLE: I MOSTLY WRITE ROWAN AMIDST THE HEART OF HIS CRIME SPREE, FROM THE AGES TWENTY-SEVEN TO THIRTY-TWO, WHICH OCCURS FROM 2012 TO 2017 IN CANON. THEREFORE IF HIS CRIME SPREE WERE TO OCCUR IN CONTEMPORARY 2020 - 2025, HIS BIRTH YEAR WOULD BE 1993. IF HIS CRIME SPREE WERE TO OCCUR IN 1980 - 1985, SAY, THEN HIS BIRTH YEAR WOULD BE 1953. INSPIRATIONS INCLUDE: MATTHEW COTTAN FROM LINE OF DUTY, MILLER LEE FROM THE HARROW, DAFYDD MORGAN FROM THE SUSPECT, ANTON CHIGURH FROM NO COUNTRY FOR OLD MEN, CAMILLE PREAKER FROM SHARP OBJECTS, LUCIE JURIN FROM MARTYRS, RED MILLER FROM MANDY, KIM SOO-HYUN FROM I SAW THE DEVIL, JENNIFER HILLS FROM I SPIT ON YOUR GRAVE, ETC THAT I'LL ADD TO AS I FEEL LIKE.
hans is holding the braincell hostage and i love it, my little cringefail, but i think i may revamp dafydd a bit because original characters ? they're everything to me actually, especially as someone who may or may not write an actual novel someday so i really need to flex my Original Character Muscles ! potential name change to shift him fully into an original character + tweaking his backstory a bit to reflect what i have in my mind. writing down the "npcs" of his story as well, possibly writing them on the rare occasion. pstpstpst-ing for some affiliated things as well.
JAVIER BARDEM as ANTON CHIGURH in No Country for Old Men (2007) dir. Joel & Ethan Coen
a comprehensive list of scenarios
feel free to combine multiple prompts or addย โ + reverse โย to switch roles !ย ย for reference, the one sending in the prompt is the one committing the action.
1.ย GUEST :ย for one muse to offer the other a place to stay. 2.ย STORM :ย for both muses to find shelter from a severe storm. 3.ย MEDIC :ย for one muse to show up at the otherโs doorstep injured. 4.ย SURPRISE :ย for one muse to come home and find the other already inside. 5.ย TRIP :ย for both muses to road trip or travel together. 6.ย BABYSIT :ย for one muse to help the other home while theyโre drunk. 7.ย INSOMNIA :ย for one muse to find the other still awake at 3am. 8.ย AMBUSH :ย for both characters to come under attack by the same enemy. 9.ย DANCE :ย for one muse to ask the other to dance at a party. 10.ย STRANDED :ย for one muse to help the other whoโs stranded on the road. 11.ย SERVICE :ย for one muse to cover the cost of something for the other. 12.ย SAFEGUARD :ย for one muse to save the other from being hit by a vehicle or from some other life-threatening event. 13.ย DAZE :ย for one muse to wake somewhere and find the other hovering over them. 14.ย STOWAWAY :ย for one muse to find the other hiding on the same ship. 15.ย TAXI :ย for both muses to share the same taxi ride. 16.ย MAKEOVER :ย for one muse to help the other with a new outfit or hairstyle. 17.ย LIFEGUARD :ย for one muse to rescue the other from drowning. 18.ย DISASTER :ย for both muses to work together to escape a fire, flood, or other disaster. 19.ย TRANSIT :ย for one muse to sit next to the other on a public transport. 20.ย SPRAIN :ย for one muse to carry the other after spraining their ankle. 21.ย EMPLOY :ย for one muse to be hired as the otherโs bodyguard, tutor, assistant, etc. 22.ย QUEST :ย for one muse to help the other with a task in exchange for compensation. 23.ย SOOTHE :ย for one muse to calm the other during a panic attack. 24.ย RECOVER :ย for one muse to return the otherโs lost belonging. 25.ย UMBRELLA :ย for one muse to share their umbrella with the other on a rainy day. 26.ย HEAL :ย for one muse to nurse the other back to health from a sickness or injury. 27.ย NIGHTMARE :ย for one muse to comfort the other after a nightmare. 28.ย REUNION :ย for one muse to run into the other again after a long time. 29.ย PRIZE :ย for one muse to win the other a prize at a carnival. 30.ย NUDE :ย for one muse to walk in on the other while theyโre changing. 31.ย BED :ย for both muses to wake in the same bed, naked or fully clothed. 32.ย TRAIL :ย for one muse to notice the other has been following them. 33.ย EVADE :ย for one muse to pull the other into an alleyway to escape their pursuer. 34.ย THIEF :ย for one muse to confront the other after having something stolen by them. 35.ย CAUGHT :ย for one muse to walk in on the other singing / dancing. 36.ย FESTIVE :ย for both muses to decorate for a special occasion. 37.ย PRESENT :ย for one muse to give the other aย (birthday)ย gift. 38.ย WEARY :ย for one muse to wake up after falling asleep on the other. 39.ย CAPTIVE :ย for one muse to hold the other against their will. 40.ย SNAP :ย for one muse to yell at or push the other out of frustration. 41.ย SLEEPOVER :ย for one muse to stay the night at the otherโs place. 42.ย TRESPASS :ย for one muse to trespass on the otherโs property. 43.ย BREAK-IN :ย for one muse to discover the other robbing their place. 44.ย MERCY :ย for both muses to come across an injured animal. 45.ย UNKNOWN :ย for both muses to wake and find themselves in a strange place. 46.ย ACCOMPLICE :ย for one muse to assist the other at the scene of a crime. 47.ย ASTRAY :ย for both muses to take a detour and lose their way. 48.ย RELAX :ย for both muses to share a hot tub or hot spring. 49.ย MUSE : ย for one muse to model for the otherโs art project. 50.ย ACCOMPANY : ย for one muse to give the other an extra ticket to an event. 51.ย SALVAGE : ย for one muse to retrieve the otherโs belongings from a thief. 52.ย MEAL :ย for both muses to prepare and share a meal together. 53.ย CEMETERY : ย for one muse to find the other at a gravestone. 54.ย REFUGE : ย for one muse to shelter the other from enemies. 55.ย ARRANGED : ย for both muses to date or marry out of convenience. 56.ย FAVOR : ย for one muse to owe the other a favor. 57.ย VACATION :ย for both muses to book the same hotel on vacation. 58.ย DEFEND : ย for one muse to save the other from one or multiple assailants. 59.ย CATCH : ย for one muse to return the otherโs pet that escaped. 60.ย RESTRICTED : ย for both muses to sneak into someplace theyโre not supposed to be.
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suchย contentmentย ,ย inย sharingย space.ย butย itย isย notย justย anย orbitingย proximityย whichย connectsย themย ,ย notย merelyย breathingย theย sameย airย andย yetย existingย separateย ofย eachย other.ย whichย isย whatย closenessย hadย beenย toย mordรบย forย mostย ofย hisย life.ย heย willย readilyย admitย thatย heย oftย foundย himselfย questioningย theย sentienceย ,ย theย bareย existenceย ofย thoseย bumblingย inย hisย orbit.ย thereย isย nothingย whichย makesย themย sameย toย himย ,ย soย thatย allย theseย beingsย earnย isย indifferenceย andย disregardย (ย aย fundamentalย barrierย thatย heartsย cannotย breachย ,ย makingย himย aย solitaryย drifterย ).
inย dafyddย howeverย ,ย thereย isย theย sparkย ofย somethingย more.ย likeย heย hadย lookedย inwardย andย recognizedย theย monsterย livingย within.ย aย notionย thatย charmsย mordรบย ,ย moreย thanย anythingย else.ย aย threadย toย connectย themย ,ย likeย dafyddย couldย beginย toย understandย himย ,ย inย turn.ย lookingย atย himย nowย ,ย heย doesย notย findย withinย himselfย theย lazyย desireย aย catย feelsย playingย withย theย deadย carcassย ofย aย mouse.ย instead...ย indeedย ,ย thereย isย fondness.ย curiosity.ย heavyย lidsย lowerย whenย dafyddย doesย notย flinchย ,ย somethingย almostย likeย warmthย settlingย inย hisย chest.
โย aย while.ย โย heย saysย ,ย nakedย feetย makingย notย aย soundย asย heย approachesย theย otherย leisurely.ย readsย theย flushย coloringย theย gentleย slopeย ofย dafydd'sย cheeksย ,ย creepingย alongย hisย earsโย theย flusterย givenย awayย byย theย particularย furrowย ofย hisย brow.ย thereย isย somethingย predatoryย ,ย subliminalย ,ย inย theย wayย mordรบย squatsย downโย usuallyย entirelyย poisedย andย dignifiedย thatย heย wouldย neverย considerย suchย aย position.ย balancesย himselfย onย theย tipsย ofย hisย fingersย ,ย headย tiltedย justย soย inย consideration.ย โย iย amย afraidย youย wouldย notย hearย meย evenย thenย ,ย ifย iย putย myย mindย toย it.ย iย admitย itย hasย notย beenย necessaryย toย trainย withย bellsย sinceย myย youth.ย โย theย setย ofย hisย browsย betraysย amusementย atย theย commentย ,ย enoughย thatย heย indulgesย dafydd.
coolย blueย eyesย flickย downย ,ย scanningย printedย lines.ย heย seatsย himselfย thenย ,ย byย dafydd'sย side.ย inย hisย orbitย ,ย butย notย close.ย โย doย youย thinkย theย monsterย lamentsย solitudeย andย scornย stillย whenย itย learnsย toย admireย itselfย forย allย whichย setsย itย apart?ย itย isย aย longingย forย notionsย ofย agreedย uponย humanityย whichย areย aย blight.ย โย deepย velvetย ofย hisย voiceย softย ,ย gazeย aimedย atย theย ceilingย inย contemplationย ,ย thoughย aย slightย smileย tugsย 'ponย theย cornerย ofย hisย mouth.ย โย areย weย notย fleshย andย blood?ย โย youย areย beautifulย ,ย heย thinksย ,ย aย reflectionย ofย theย thoughtย inย theย heavinessย ofย hisย gazeย asย heย peersย atย dafyddย fromย theย cornerย ofย hisย eye.
CROUCHING TIGER, HIDDEN DRAGON, Mordรบ balanced and poised 'pon big cat claws before sitting. A predator as Dafydd is a predator: protecting the wounded, the defenseless, the cherished. He contemplates the category he falls into, the category Mordรบ would file him into. Are we not flesh and blood, from Mordรบ, with a smile faint but not undiscernible to Dafydd, is answer enough. He hums. โ Are we having an English literature lesson? โ He smiles, too, before elaborating: โ Thou shall not murder. Why the creature murdered doesn't matter: He's branded a monster, and he's cast out of a society that'd already cast him off to the wolves before, and he's labelled worse than the wolves. Frankenstein created the monster and then abandoned it โ Frankenstein's hands are stained with more blood than the monster's, aren't they? โ How similar Victor Frankenstein and Michael Morgan are. Did the monster miss its father, too, and mourn what could have been? Dafydd stares at the floor, at the wood grain, and says, โ As soon as the monster realizes that โ that he's no more a monster than society โ he's free. We're all monsters. โ He pauses, ghosting with a finger the edges of the book. โ But I think there's good in the world. I've seen it. โ He glances at Mordรบ, at an angular, beautiful face and blue eyes. โ I've seen it in you. And maybe the bar's low. โ He's looking away again and laughing. โ But I'm not a charity case to you. You understand. โ You're not afraid to be a monster. โ I like that. โ
my lungs donโt fill with air like they used to. church is no longer magic, and waking up is just a hobby.
โ โan original character multimuse.
for sunday i present to you a post detailing dafydd's relationship with sex because it's complicated but something he wants to and will reclaim !
above all, dafydd isn't dominant and likely won't ever be, even if his partner wants him to be, because he's afraid of causing who he's with harm, whether it be emotional or physical harm. he may be "dominant" until the moment of penetration, since he's far more confident with foreplay and especially oral sex, where he'll then relinquish all control. positions where his partner is on top, such as riding, are preferrable, as are positions where he's able to see his partner's face if he's on top. this is something he prefers regardless โ he doesn't ever have a desire to be entirely dominating โ but it reassures him when his partner who's being penetrated is in control and that he's able to read their body language and facial expressions. if he's being penetrated by a man in particular, he also prefers to be able to see their face, particularly if they're being especially dominating โ which is something he has to be eased into, meaning it can't and won't be his first sexual experience with someone unless he's using sex as a form of self harm. there's a comfort in reclaiming sex as a whole, but especially sex in which he's the receiver. he had a partner who he had consensual sex with in this way, and he likes it. he enjoys it. but there's shame there that he's still working through and would like to work through. all of that being said ! his partner's pleasure is of the utmost importance to dafydd. oral king. he checks in on his partner often, whether verbally or physically through squeezing his partner's hand for them to reciprocate. very doting, whether topping or bottoming. though it may embarrass him while bottoming, it's important that he assures his partner, too, that he's enjoying it. so much praise, then, and reassurance. you are NOT experiencing post nut depression with dafydd, he's letting you know how good you are, how good you feel. he doesn't often initiate, but he's more prone to initiate to bottom, and he'll be upfront about it, telling his partner "you can fuck me if you want" / "i want you to fuck me," which is hot ! once dafydd's comfortable, he'll give himself to his partner, and that reclamation of himself, of his body and of his sex, and how much he trusts his partner to give himself to them, is beautiful. and, again, also hot.
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ใ คLONGING. DAFYDD NOTICES MORDร LOOKING AT HIM LONGINGLY.
THE AFTERNOON SUN'S BATHING THE STUDY, and Dafydd's situated in an area of sunlight, hair half wet and half curling from swimming in chlorine and saltwater, with a novel โ Mary Shelley's Frankenstein; or, The Modern Prometheus that he's read countless times and still isn't tired of, though how he's falling asleep, sitting on the floor and back against a chair, says otherwise. He's tired from swimming. He's tired from sitting in the sun. He's tired from reading. He's tired, and he's relaxed. So relaxed, he doesn't notice Mordรบ's footsteps, nor does he notice Mordรบ's standing in the doorframe. And once he does, he doesn't flinch. Dafydd's brows are furrowed, however, at @putrefacerem, at how Mordรบ is staring with such โ fondness? โ How long have you been there? โ Dafydd asks, with a face slightly flushed and entirely flustered, confused and with a chest aching and enamored, by the attention. โ Should put a cat bell on you. โ Breaking eye contact, then, Dafydd stares down at the book and reads the same line again and again and again: It is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another. โ ... And it's rude to stare, by the way. โ Let me see that I excite the sympathy of some existing thing.
thinking thoughts, as i do, and may end up adding to dafydd's backstory.
THE KILLSUIT ๐ช๐ฉธ
Michael C. Hall as DEXTER MORGAN
LAKE MUNGO (2008) dir. Joel Anderson
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๐๐จ๐ซ ๐ฒ๐จ๐ฎ ๐ข ๐ฐ๐จ๐ฎ๐ฅ๐: a little assortment of prompts revolving around painful, bottled up affection and endless yearning, as well as the possible result of finally taking action. remember to tag your dark themes. add +reverse to swap the roles.
[ ๐ฅ๐จ๐ง๐ ๐ข๐ง๐ ] : receiver notices sender looking at them longingly. [ ๐๐ซ๐๐๐ฆ ] : receiver hears sender calling their name while asleep. [ ๐ฐ๐๐ซ๐ฆ๐ญ๐ก ] : sender drapes a coat / cape / etc. around receiver's shoulders. [ ๐ฌ๐๐๐ง๐ญ ] : receiver is hugging a coat / cape / etc. that belongs to the sender. [ ๐๐๐ฅ๐ฆ ] : sender is helping the receiver through a panic attack / severe anxiety. [ ๐ก๐๐ง๐ ] : sender takes a hold of receiver's both hands. [ ๐ซ๐๐ฌ๐ญ ] : sender and receiver are spooning for comfort and warmth. [ ๐๐ฅ๐ฆ๐จ๐ฌ๐ญ ] : sender and receiver are finally about to kiss, but are interrupted. [ ๐ญ๐๐ฌ๐ญ๐ ] : sender and receiver are finally sharing a passionate kiss. [ ๐๐จ๐ฎ๐ง๐ ] : sender has just found the receiver who's been missing for weeks. [ ๐ฅ๐จ๐ฌ๐ฌ ] : after being misinformed that the sender has died, receiver is grieving. [ ๐ฅ๐จ๐ฎ๐ ] : sender is expressing anger over receiver's constant recklessness. [ ๐ฃ๐๐๐ฅ๐จ๐ฎ๐ฌ ] : sender is voicing their negative opinion about a person who appears to be close with the receiver. [ ๐ฆ๐ข๐ง๐ ] : sender has just told receiver "you belong to me". [ ๐ฐ๐ก๐ฒ ] : sender has just asked receiver "why don't you love me". [ ๐ฏ๐ข๐จ๐ฅ๐๐ง๐ญ ] : sender has harmed someone who threatened the receiver. [ ๐ ๐ซ๐ข๐ฆ ] : sender has killed someone who threatened the receiver. [ ๐ก๐ฎ๐ซ๐ญ ] : sender has gotten injured protecting the receiver. [ ๐๐ฅ๐จ๐ง๐ ] : sender is getting frustrated with their repressed affection and asks receiver to leave them alone. [ ๐๐ซ๐ฎ๐๐ฅ ] : unable to handle their fondness towards receiver, the sender lashes out and they end up in a heated argument. [ ๐๐ฉ๐จ๐ฅ๐จ๐ ๐ฒ ] : sender is apologising for appearing cold. [ ๐ฌ๐ญ๐จ๐ฉ ] : sender is telling receiver they "deserve better than whatever this is".
๐ก๐จ๐ซ๐ซ๐จ๐ซ๐ฌ : a little assortment of action prompts for muses who may or may not hate each other. remember to tag your blood and violence. add +reverse to swap the roles.
[ ๐ง๐จ ๐๐ข๐ซ ] : sender is holding the receiver by the throat. [ ๐ค๐ง๐๐๐ฅ ] : receiver is on their knees in front of the victorious sender. [ ๐ฌ๐ฎ๐ซ๐ซ๐๐ง๐๐๐ซ ] : exhausted from a battle, the receiver gives up resistance. [ ๐ฌ๐ก๐๐ซ๐ฉ๐๐ง๐๐ ] : sender attempts to stab the receiver. [ ๐ฌ๐ญ๐ซ๐๐ง๐๐ฌ ] : sender grabs the receiver by the hair. [ ๐ฌ๐ก๐๐๐ค๐ฅ๐๐ฌ ] : receiver is being held as captive by the sender. [ ๐ญ๐ซ๐๐ฉ ] : receiver finds the sender trapped and unable to escape from them. [ ๐๐ก๐ข๐ง ] : sender is lifting captured receiver's chin up. [ ๐๐ซ๐จ๐ค๐๐ง ] : sender breaks one of receiver's bones. [ ๐๐ฅ๐๐๐ ] : sender has made the receiver bleed. [ ๐๐จ๐ซ๐๐๐ ] : sender forces the receiver to watch their loved one die. [ ๐ฉ๐ข๐ง๐ง๐๐ ] : sender pins the receiver against a wall out of sheer rage. [ ๐ฉ๐ข๐ญ๐ฒ ] : sender spares receiver's life. [ ๐ฐ๐๐ซ๐ง๐ข๐ง๐ ] : sender warns the receiver to not antagonize them. [ ๐ฅ๐ข๐ฉ๐ฌ ] : sender and receiver are sharing a kiss that draws blood. [ ๐ฉ๐ซ๐๐ญ๐๐ง๐ ] : receiver is trying to win sender's trust in order to escape later. [ ๐๐ฅ๐ฅ๐ข๐๐ง๐๐ ] : facing a greater threat, sender and receiver must work together.
