minho helps you let out your pent-up emotions
-contains mature themes
"you've been having an attitude since morning" minho hissed out, hips brutally thrusting into you.
"that isn't your p-problem" you practically shouted. body squirming from how much he had edged you.
minho's face morphing into an annoyed expression. your stomach doing flips when he shot you a glare.
you didn't mean to shout. he had unknowingly hit that spongey spot inside of you.
saying sorry was too late now. you had your pride. yet you were still scared of how he'd react.
"it is my fucking problem" he answered back, sitting on his haunches.
"if you're in pain. im in pain"
staring down at you. lazily thrusting inside of your sopping heat.
"start talking" you threw your head to the side.
whenever you got like this he'd make you open up. you were the type to keep things to yourself.
and minho knew about it.
you had even asked him to help you talk more about your feelings. why you had gotten so worked up. and snapped at him when he asked if you wanted to watch a movie with him.
"no..." you mumbled, eyes watering. he sighed, pushing his hair back.
"fine. be that way"
"i'll just fuck it out of you"
stifling your moans against your arm when he used all his strength to rail you. his hand roughly pulling your arm that was covering you mouth.
"m-minho" you mumbled, trying to look at him. but he ignored you. choosing to keep his eyes fixed on where he entered your cunt.
"minnie"
tears welling up in your eyes. a few slipping out. why wouldn't he look at you.
you deserved to be treated like this. he didn't deserve to be the brunt of your outburst.
his fingers reaching up to hold your waist. making you meet his thrusts. you felt like all your pent up emotions were letting loose. thighs trembling.
his eyes finally meeting yours.
he cooed.
"there we go..." a feeling of accomplishment in his tone. you were crying. broken sentences.
"n-not studied...exam"
he understood. humming in response. exams were in a month and you were stressed. you'd kept procrastinating until finally you were pacing.
it was all your fault. minho seemed to notice how you fell into a dark place.
choosing to ask you. yet you yelled at him. you didn't mean to hurt him. it was all a mistake.
"what do you have to say to me?" he whispered, just for you to hear.
"m'sorry. i didn't mean to be rude.."
"no more thinking now kitten. im here" you sniffled. feeling much better after he accepted your apology.
whining as he pulled out completely.
"get on top" he instructed, sitting upright. successfully pulling your limp body on him. gently lifting you up and sliding right back in.
"always so tight for me" he moaned out. you grinded down on him. letting out little noises as he made you ride him. hands firmly holding your waist.
lips kissing up your neck and gradually going lower. until he mouthed at your tits. sticking his tongue out playfully to toy at them. eyes locked onto yours with a flirty glimmer in them.
"h-hurts" you mumbled, thighs aching. you tried though to keep your composure. how could you let him do all the hard work.
instantly his hands slid down, kneading at your thighs. easing out your tense muscles.
"relax for me" he said in a hushed tone. practically melting against him. his dick still in you.
"let me take care of you princess"
.
.
.
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i've been rotating so many mika and shima thoughts in my head since chapter 55 came out so i might as well share them with the skiptuals. please don't take anything i say as a serious analysis or something i'm just loafing here. ok. i think the transition from shima to mika in the last two chapters wasn't unintentional at all. they (and their own arcs) resemble each other in ways i hadn't thought about until i read the latest chapter. let's start with how both of them have kinda "built" a public persona to navigate social situations. because of their respective past experiences, shima thinks that he's worthless if he isn't playing the role of the "perfect popular friendly guy", and mika's changed everything about herself so she could be accepted by other people. they're both insecure kids who have tried to find value in themselves by acting according to what others expected of them or what made others "like them more". but at the end of the day this is just putting a band aid on a major wound because the problem obviously lies elsewhere.
this "persona", "facade", "mask", "role" or whatever you wanna call it is harming them rather than saving them. it protects them from getting hurt, but by doing so they're keeping people at arm's length and stopping themselves from genuinely connecting with others.
that's why letting people get close to them and see through this front they put up is difficult for them, they've gotten used to wearing these masks after all. take mika's fear of rejection or how she was hesitant to stay with the girls in ch15 as an example, or shima being worried about how the way he's perceived by other people can make them dislike him. i think it's interesting how both nao-chan and mitsumi's reassuring words conveyed the same meaning on both occasions. "everyone here is friends with someone who threw up on the first day of school" means that people that love you won't stop doing it because you act a little weird or because you make mistakes (and vice versa!). "it's cute to be embarrased" is another way of saying that putting yourself out there, being vulnerable or trying new things won't be the death of you, what's more, it's endearing. both scenes are trying to communicate the same thing: don't worry, being yourself won't make people hate you (and if they do, who cares?).
or, alternatively:
and on that topic, i think chapter 46 and chapter 55 play the same role in shima and mika's character arcs, respectively. both of these chapters are turning points for them. even if the connotation is different, both mitsumi and nao-chan deliver lines that should be exhibited forever in the skip to loafer hall of fame. mitsumi tells shima, who's always thought that he had to be like this or that to be valuable, that no matter who he is she'd still like him. nao-chan tells mika, who's always wondered if anyone would ever love her as she is, that she will definitely find someone who does. both these statements are direct, sincere and come from people who care about them. they're not empty words, they're not saying this just to cheer them up. these are facts. these words refute their deepest fears.
even if mika and shima's character arcs are going in different directions (and each of them has their own circumstances), both of them are in the process of internalizing these ideas. i'd say mika's getting closer because she's always been the type of person who's in tune with her feelings, unlike shima. it's clear after the last chapter, like how she opened up to nao-chan and how she was ok with mukai listening. but shima's getting there too, this arc was definitely a decisive moment for him. that's why i'm only pointing out a few similarities i've noticed, they're both doing their own thing. and as i said before, they're not alone in their journeys, the people around them are helping them too. you know how nao-chan said in the last chapter that someday mika "will definitely find someone who will love her, warts and all?" i've said in one of my previous posts that even if nao-chan was referring to a romantic partner, i think that what she said can also apply to any kind of relatioship. that's why i believe it's important to mention that the first character who sees beyond mika's facade is... mitsumi! and well, that's because mitsumi is mitsumi. even though mika wasn't very nice to her at first, mitsumi still goes to her and asks for her help. mitsumi's not telling her "i'm overlooking your bad points because there might be something good underneath it all" or something, we know she's not that kind of person. she's looking directly at mika and telling her "because of the way you treated me i know you can help me". she welcomes mika into her life and into the group, warts and all.
and that's not where it ends. kindness is like a domino effect. once you're shown kindness, you can't help extending kindness to someone else. we can see it in the way mika lends her beret to mitsumi when she feels bad about her bangs. nao-chan comforting mika wouldn't be possible if people like mitsumi or goro weren't kind to her first. yuzu talking to mitsumi that one time at karaoke gave her a little confidence to talk to makoto and befriend her. almost 40 chapters later, makoto goes to yuzu after she finds out what happened with her classmates. shima might not even realize, but him helping mitsumi on their first day of school was literally what started it all. and of course, being kind to yourself will come with time too. kindness is a never-ending cycle. kindness moves us into growing, and that's what sukirofa is all about, really.
peace and loaf on planet earth
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Hello! GS is one of my favorite comics right now and a huge inspiration in my own journey of working on a comic. One of the things I find the most impressive is your paneling. Visually each of them are laid out in a way that gives this great flow, it feels really natural to imagine the pages in motion.
Would it be okay to ask what your thought process is on panelling, or just general advice/thoughts on setting up/laying out pages? I hope this makes sense
When I think about page layout, my number one question is what kind of panel I want the page to end with. It shouldn't cut the conversation or motion awkwardly, and ideally it should be something that acts like a hook that makes you want to click to the next page, like here:
It's all about getting from part A to part B. Part A, you're here. Where's the part B? The cutting point, the point where the page ends, where the chapter ends, and ultimately where the story ends.
What kind of story you want to make?
What kind of plot points you want to cover in your chapter?
How much content there is in this one page, does it forward the plot, relationships, or just show a side of someone you want seen?
You can go even smaller. Is this panel important? Does it need a full background? Could these three small panels of characters talking be one big panel? It'll save you time and look nicer.
You'll get it with practice! The old first pages of my comic wasted a lot of space, sometimes they still do. Don't stuff it full but don't get too loose! Don't be afraid of small panels, reserve big ones for big moments, like mother saying goodbye to her kid, or a yellow deer meeting a god. I see many starting comicers use very few panels per page, but this is a LOT of unnecessary work that builds up versus you including more panels per page. It's all about the bubbles. Bubbles lead everything. It's the silent pages that are the hardest.
Again, this is just how I do it. I bet there's tons of different approaches that work for the right people. Hope you find what works the best for you, best of luck with your project!
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The funny thing about Pharma and the Delphi situation is that that's where the concept of the DJD was first introduced (with the first scene with the DJD at work happening literally the issue afterwards, issue #6) and literally the more you learn about the DJD the more it vindicates Pharma in his paranoia and being convinced that he couldn't ask for help like
In the Delphi issues we learn that the DJD hunts down Decepticon turncoats/traitors/etc and that Ambulon, one of the Delphi staff, was a Decepticon traitor. We also learn that their leader is evidently terrifying in addition to being a t-cog addict, but that's it.
Except in the subsequent issue #6 and all issues with the DJD afterwards, we learn a variety of fun facts about the DJD such as
Several of the members either literally transform into torture equipment or have said torture equipment built into their bodies
Their leader, Tarn, the guy with the t-cog addiction that forced Pharma into blackmail, can kill people with just his VOICE
We later learn that the DJD have a fanatical devotion to the Decepticon cause/Megatron such that they literally worship an idol of Megatron
Even later on, we learn that Tarn's kill-you-with-his-voice powers work both over the phone and via recordings of his voice
Tarn is also very talkative during torture sessions and he seems to find pleasure in his stupid, smug-smart guy persona where he likes to describe to victims what's happening to them and why. And there's no reason he wouldn't apply this to Autobots just as much as he does to Decepticon traitors
The DJD have access to signal jamming technologies that make it so that even if their victim can get a help signal out, no one will receive it until weeks after the fact
Their entire system of hunting people down is based on pursuing them no matter what, isolating them from any help, driving them mad with psychological terror, etc
They're capable enough warriors to slaughter an entire ships' worth of people, apparently without sustaining any meaningful casualties
They're drug addicts that are prone to overdosing and/or losing control and slaughtering people while they're under the influence
So like???
If Pharma was only privy to HALF of the things that we as the audience know about the DJD, it's perfectly reasonable to assume that Pharma probably wanted to call for help at some point, but was convinced that doing so would lead to 1. the signal being jammed/blocked so no one would help anyways 2. him and everyone else at Delphi (including the TRAITOR WHO IS ONE OF THEIR EMPLOYEES) would be horribly tortured to death by fanatical Decepticon torturer freaks.
Like I get that in the text Pharma only says that he did the Red Rust stuff so that he wouldn't be caught/blamed for the t-cog deal and is prideful about how he stopped the DJD from murdering Delphi, but like...... there's no fucking way that Pharma going "oh I didn't want to get in trouble and also I'm better than everyone" was his PRIMARY reason for everything on Delphi. Pharma didn't go from perfectly normal/sane Autobot doctor to raving egotistical maniac because he was always an asshole and he decided to solve the DJD issue in an asshole way. It's bc according to all canon evidence we have of the DJD and the way they react to traitors/Autobots, Pharma had every reason to fear for his life and believe that no aid would come to him.
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