So, I have this particular kink that is kinda odd (shocking, I know lol), which can basically be summed up by "taking care of the sub". Especially with things that the sub is capable of doing themselves, but is either too dumb or can't do it *right*, or the dom just does it for them.
Like bathing someone, picking out their clothing, ordering for them at restaurants, etc.
It's less about the control aspect (while I do like that) and more of the act of taking care of someone. The gentle and softness aspect is something I really enjoy.
But I have a more... extreme version of this kink. It still focuses on the gentle care, but instead of taking of someone, the sub is an object. Like a precious collectible or something rare and expensive. Something that needs to be handled delicately and with care. The sub is still no more than a *thing*, but a valuable thing.
Now imagine this kink with one of the brothers. I think Mammon would very much enjoy this kind of play, especially when you show him off. Imagine having him sitting in your lap completely naked, his legs being held apart by your thighs as you talk over him. There's a few dozen demons standing around the luscious club, and a sizeable group is gathered around the couch you and your precious are sitting in.
You address the crowd of demons, bragging about your latest prize, showing all of Mammon's weak points like an appraiser would. You run your hands over his nipples, commenting about how lucky you are for finding something that is reactive as Mammon moans. Your other hand wrapped around his dick and gave it a few strokes.
One of the bolder demons asked if they could touch your treasure, but you state that it is way too delicate, and only professionals like yourself can safely touch it. All of Mammon's moans, groans, and begs for more fall on deaf ears as you and the other patrons discuss him like he's not even there.
I feel like Asmo would also really, really enjoy scenes like this. Being treated like a precious jewel? Of course, he would love that, lol. And he especially wants you to show him off. Would even rent out big venues and have you play with him on stage. But I feel like he would also like to do these scenes when it's just the two of you. There's something special about hearing how precious and beautiful he is as you play with him in your own bed.
Lucifer is also someone who would love, but also kinda hate these scenes? (If very much a "brat who hates punishments" kind of way, as in he likes it consents to it, but some part of him is torn lol) The praise is a big ego boast, but there's something humiliating about being treated like an object that both exictes him and shames him.
Lucifer would never be willing to do this scene in public or with other people around. He's already pretty PG when it comes to public affection. But if you and him are dating both Barbatos and Diavolo? Then he wouldn't mind adding them to the scene.
The scenes involving them play out a myraid of different ways. Sometimes, you're showing off Lucifer to Diavolo as he sits on his throne with Barbatos at his side. Other times it's the other way around, with you sitting on Diavolo's throne pretending to be a human ruler, and Diavolo and Barbatos acting as the demon hunters who tamed Lucifer, and now you inspect your new prize. Sometimes it's the four of you lounging in Diavolo's bed as you pass around Lucifer like he's a cool rock you found.
Anyways, I really like this kink. Who knows? I might do more with it one day. Come yell at me in my inbox if you share the kink or have thoughts about it lol.
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SOLA — Her Innocence, Sola— the anti-innocence— turns to face you. In the distance, you hear the tattoo of propellers, turning, sucking all the air. A strong wind whips her long, dark hair around her face. Her simple black gown billows behind her. The same gown she wore the day she resigned.
She has your eyes.
“Hi, Kim,” she says simply. “You don’t look well.”
PAIN THRESHOLD — Her voice is so familiar, and yet the moment she stops speaking, you cannot recall its sound, no matter how hard you try. And you have tried. Innumerable times.
AUTHORITY — What makes her think she would even *know* the difference between you looking well or unwell? She’s being presumptuous. She doesn’t even know you.
INLAND EMPIRE — She never will.
“I’m doing great, actually. Never been better.”
“Hey, I’m trying my best.”
“I’m *not* well. I’m so fucking unwell. I can’t take it anymore. Please, help me…”
“I’ll live.”
SOLA — “Hm…” She smiles apologetically. “Well, that’s all we can really ask for anymore, isn’t it?”
EMPATHY — She wishes more than anything that this was not the case. That you could ask for the world and have it.
RHETORIC — She tried to give it to you, and this is how you repay her? You’re gonna be in *deep* shit trying to explain that insignia you stitched onto her jacket.
“Um, about the jacket. It’s not what it… well, no, it *is* what it looks like. But I don’t— it’s— there’s nuance.”
“Is that really all you have to say to me?”
“I don’t know what to say to you.”
“Where are you going?”
SOLA — Her Innocence looks away from you, toward the wind. “Away,” she says, her voice distant and strange. “Yes… I’m stepping down, you see. The world doesn’t need me. It never needed me, really. It’s best for humanity to think for itself. No… it already *does* think for itself.”
She turns back to you with a small smile. The thought brings her peace.
PAIN THRESHOLD — But what does it bring *you?* She’s leaving you forever. Abandoning you for lofty ideals.
AUTHORITY — Let her go. Let her see how little you care. Don’t give her any satisfaction.
HALF LIGHT — Stop her. You won’t be able to live without her.
VOLITION — You have already lived almost all your life without her. You don’t need her. You have *never* needed her.
“What if the world *does* need you? Who are you to make that decision for the entire world?”
“Fine. Go. It’s none of my business.”
“So you’re just going to leave me behind again.”
“Please, don’t go. *I* need you.”
SOLA — “What else is an Innocence appointed to do?” Her smile turns wry. “You see? This is why I’m stepping down.”
Distant propellers turn and turn in endless circles. She glances toward them.
YOU — “Fine. Go. It’s none of my business.”
SOLA — “I suppose not.” Her voice and her face betray nothing. No sign of remorse.
YOU — “So you’re just going to leave me behind again.”
SOLA — “That was never my intention,” she says softly. “Surely you know that.”
INLAND EMPIRE — You will never truly know. No one will.
SOLA — She stares out at the horizon through the tendrils of hair that almost seem to threaten to swallow her. Her expression is strange and ambiguous, shifting every time you try and look directly at it.
YOU — “Please, don’t go. *I* need you.”
SOLA — She looks at you, and her eyes are full of what might be genuine sadness. But they could also be full of anything else.
“Oh, Kim… You must make do with what you have. I don’t know what else you want me to say…”
RHETORIC — What?! There are a million other things she could say! Forty-one years worth of possibilities! She could say *anything!* Anything at all… Even if she’d only left you a single word, it would be better than this…
VOLITION — It’s pointless to wish. Please, no more of this. It’s too sad.
“You could say that you’re sorry.”
“Say that I turned out all right.”
“Say that you’re proud of me. That you love me.”
SOLA — “Then I’m sorry.” She closes her eyes. “It was terrible of us to leave you alone.”
Her voice is utterly calm and emotionless.
PAIN THRESHOLD — No… Wrong, all wrong…
YOU — “Say that I turned out all right.”
SOLA — “You’re a good man despite it all. That is all I ever hoped for you.”
Again, there is no warmth to her words. No conviction.
VOLITION — Lieutenant… Please, don’t do this to yourself.
YOU — “Say that you’re proud of me. That you love me.”
SOLA — “I’m so proud of you and everything you’ve accomplished. You wear that jacket well.”
Her eyes have nothing behind them. A pair of two millimeter holes in the world.
“I love you.”
PAIN THRESHOLD — Your lungs seem to constrict at her words. Your chest hurts more than it’s ever hurt. This wind is hard to breathe in.
YOU — “No! Don’t you fucking get it?! You don’t love me!”
SOLA — “Then I don’t love you.”
YOU — “You should be *ashamed* of me!”
SOLA — “Then I am ashamed.”
YOU — “I betrayed you! I betrayed everything you stood for! I’m a fucking cop!”
SOLA — “Then I am betrayed.”
She proclaims it as dispassionately as she proclaimed her love.
YOU — “For god’s sake, *say something real!*”
SOLA — She just looks at you. The propellers keep on turning.
DRAMA — She can’t speak for herself, sire…
LOGIC — Of course she can’t. Of course…
PAIN THRESHOLD — Your lungs feel like they could collapse. Empty, crumpled, dark. Hot tears prick your eyes for the first time in what feels like a long time.
SOLA — “Do you understand now?” she asks gently.
LOGIC — She cannot speak for herself because you do not know what she would say.
There are many memories that you have been slowly recovering, little by little. Your mother will never be one of them. Her, the revolution, the aerostatic brigade— they all died before you could even comprehend loss.
AUTHORITY — You did not become a detective so that you could find your lost mother. You became a police officer because you did not want to end up like her.
VOLITION — She can neither forgive you, nor condemn you. She is dead, Lieutenant. She can only be what you make her.
RHETORIC — You’re asking your own echo for answers…
SOLA — “Humanity must think for itself,” she says again, turning again toward the wind. “What point is there in asking me where to go from here? I’m a failure. We all failed…”
RHETORIC — The revolutionaries failed their children, and the children are failing their parents, and all of them are dying, dying, dead… What’s the point in any of this anymore? I cannot argue in favor of any of it.
VOLITION — There is a point. There is a way forward. But you won’t find it here, Lieutenant.
“I hate you. You made me everything I am and then you just *left.*”
“I miss you… How is it even possible to miss someone you never met? It’s like someone ripped a part of me out and all I can do is bleed.”
“I don’t know what I am. I need you to tell me what I am.”
SOLA — One last time, she turns back to you. She slowly bridges the gap between you and reaches out a hand to cup your cheek. Her fingers feel like your own.
“You are whatever kind of animal you choose to be,” she says, so quietly that you don’t know how you can hear it over the distant roar of engines. “I cannot make that choice for you.”
EMPATHY — She died hoping that you would grow up with the freedom to choose to be whatever you wanted. Instead, the world that raised you hardly let you dare to want anything.
VOLITION — But you can still make a choice. Humanity can still think for itself.
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have you read the lion blaze self harm scene? kinda sh ig he basically lets …ratscar i think like scratch him up bad by holding his powers back. interesting to me what’re ur thoughts? (idk if that’s the right definition, i’ve always defined it as having someone/yourself injure your body with the intent to hurt) sorry if this is a downer, i just know your a lion blaze enthusiast and wanted to know your thoughts
ohhh yes i do actually. its one of the few scenes i remember better bc i actually own the book where it happened.
to elaborate on the scene more, it happens after he has an argument with cinderheart, who claims they shouldnt be together since he's part of the prophecy, how his destiny is to save the clans (and coincidentally not get hurt) and them being mates would only be distractions
lion's rebuttal? instigate a fight w a patrol near the shadowclan border, disallow himself to fight back, and force the wounds to get inflicted on his body, as a show that he CAN choose to get hurt. that he CAN choose what kind of 'destiny' he should have. ive put my own thoughts about it under read more bc this got long (unsurprisingly jkhasdkjfhd)
i spent like a solid few minutes re-reading the chapter to gather my thoughts on it LOL i remember not thinking much about it when i was a kid, but i think its interesting to analyze now!
what was attempted to be written, at least, piques me bc its about lion trying to prove that they can exist outside of the narrative the prophecy has given them. which is funnily ironic, since the start of the chapter is of him having self doubts regarding saving the clans when they found out theres a fourth cat, how that basically means that the three of them wouldnt be enough, how his destiny might have changed. reading this chapter just gave me a new can of brainworms but ill try not to delve into it too much bc its gonna get way messier LMAOOO
to go back to lion purposely getting himself hurt, i dont think he's the type of person who would do that for the sake of it, unless as a really dumb way to prove a point. but it makes me think he really doesnt have much of a care of whether he'd get hurt or not. a severe lack of self-preservation, and all that. cats back at camp react to his wounds w all around shock, he's herded into the med den all the while he acts like he'll be fine. i dunno if the shock from the cats is just bc theyre just so used to seeing him NOT hurt, or if his wounds were really that bad. but either or both still pretty much gives me a lot to think about. homeboy doesnt know the limits of his body, and that makes for interesting scenarios of how he manages to deal w that after losing his powers
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