Reviewer: It Was Me Signed [Report This]
Date: October 21 2025 7:37 AM Title: PART 34

Okay, first and foremost with S3, that vore scene? Holy fuck, man! You've been nailing those in this story, but this last one was so fucking good! Better than the one in the previous chapter, and that one was fantastic in its own right!

Once again, as you do with a lot of your fetish-y scenes, you wrapped a good bit of plot and worldbuilding around the dinner itself, which is both clever and really, really hot. The four of them having a conversation as they casually reach down and grab themselves one "bite" at a time adds another dimension to the eroticism of the vore. It also makes the narrative more interesting watching the four of them swallow down life after life while talking about how worthless tinies are in general. That's how you drive home a point!

I also appreciated how you emphasized the different approaches each giantess took to their meal, and I think that gave us some insight into who each one is.

Marion, for example, really seemed to savor the process of eating tinies more than the tinies themselves. She was selective with each bite, preferring women for how smoothly they go down and eyeing Kelly because of her curious actions in the bowl (which only she took the time to notice, it seems. Then there was the smelling, adding more senses to the eating process and really taking her time. The comparison to a sommelier really fit well here!

But then, once the tinies pass Marion's lips, they're practically forgotten, swallowed so easily, so automatically that it seems like she doesn't bother to enjoy the taste. It seems almost sacramental to me in that regard, like she's doing it more out of civility and and polite expectation than taste and indulgence. I think she likes the idea of consuming tinies more than the literal act itself, drawing out how she puts the tinies in their place and swiftly swallowing once they're in her mouth.

Then there's Yuriko, who was very ceremonial and violent with her meal. I don't think she swallowed a living tiny in the entire segment. Between the way she regarded them and how she quickly squashed that first one between her tongue and the roof of her mouth, letting the blood and flavor spread from what was left of him afterward, seemed very traditional, maybe even ritualistic. This is a woman who enjoys the act and the violence of eating tinies. I mean, it is a delicacy in her home country, after all.

Donnica was so casual after she got over the initial novelty of it. She was never offended or against eating tinies, but it took her a second to get over the shock of it not only being offered to her but that it was being done so (seemingly) blatantly despite clearly being illegal.

She enjoyed the flavor quite a bit, and the initial rush, too, but she soon settled in and the tinies in the bowl just became another meal for her. Yeah, she pretended that they were rivals shrunken down by the virus, but the way she ate them mostly pretty normal, sipping wine to swallow them down easier and gulping them down to make sure she could get properly answer the two powerful women's questions or hold firm on certain things.

All in all, eating tinies became pretty natural pretty quickly for Donnica.

Then there's Helena. I love that she was stress eating! The description of her being too worried to pay attention as she ate her first bit was perfect! That soft chewing and sipping the wine to send him down, all absent actions while the other three were enjoying their food in their own ways, was not only super hot to me, but it also reinforced a feeling I kind of got from her own vore segment in the previous chapter.

I don't think Helena particularly cares for chowing down on little people.

That feeling only deepened when Helena deflected Donnica's question about how she likes her tinies prepared. Unlike the other three, I think Helena eats tinies because it's necessary for her to either hold her position or advance within the Sisterhood (much like how eating that first tiny was a test for Donnica). In the previous chapter, it was noted that she was doing meal more out of ritual than desire, and she didn't seem to derive a lot of pleasure from eating them.

To be clear, I'm not saying that Helena has a problem with eating tinies. I just don't think she's into it. Or maybe she does and just buries it deep, right next to her feelings for Celine.

The Kelly angle in this segment was so much fun! Getting a ground-level perspective of those "descending fingers'  was really ... fuck, man! That shit alone was prime "field testing" material! And that line about the gods absently choosing their meals? Fanfuckingtastic!

But Kelly's "journey" was great, too. The fact that she put so much faith in Donnica despite how unlikely it seemed like Donnica would help her. That helped sell her desperation; despite how little Donnica cared about her, tormented her in the nail salon even, Kelly still convinced herself that Donnica would save her. And the way she pushed that dude into Marion's elegant fingers was shitty of her, of course, but fuck was it sexy as hell thinking about Marion gently trying to shake him off her sticky fingers and "resigning" herself to eating him instead of the curiosity she'd been eyeing all meal.

And the way you described Donnica from Kelly's perspective when Donnica plucked her from the bowl was so mesmerizing! Everything about Donnica stood out there, and that casual lick of her lips felt as devastating as it felt hot (which was very, by the way!).

Then Donnica recognized her and ate her anyway! The perfect end to Kelly's journey! That "Oh, it's you" line cracked me up, because I knew exactly what was coming! Fuck that whole thing was good!

And while I'm still on the vore stuff, the Lover's Delight was a lovely way to end the meal. To back married couples into the dough like that and intentionally separate them before eating each one is a special kind of casual cruelty, so of course Yuriko is the one to show Donnica the proper way to do it! Yurilo talking over the screaming husband, paying him no attention as she excitedly talks about the desert with Donnica was amazing! Also, the fact that they would (allegedly) go out of their way to make sure these are actual couples they're serving is even more delightfully evil. The Sisterhood is really particular about the role each tiny plays in their system.

And I say the Sisterhood instead of just the restaurant because it's clear to me that either The Hollow is owned and operated by the Sisterhood or that the restaurant allowed them to bring their own food into the establishment (and I'm willing to bet it's the first one). I love how you telegraphed this with the waitress, who was clearly a goddess-in-waiting. She had all the same mannerisms and respect for both the goddesses themselves and the ritualistic nature of the meal that the girls back on Helena's estate had. The way Marion acknowledged the girl a couple times sealed it for me.

Jumping back to the beginning of the segment, I love Donnica's take on the restaurant. Despite her own wealth and influence, this was a step above what she was used to, which shows that there are even higher levels to which she could go. But, at the same time, she wasn't excited about eating there or jealous that her hosts were in a position to summon her there; no, she only acknowledged the status of the restaurant as recognition for how important the meal was, given the kind of discussion and deals that go down there.

This, to me, goes back to Donnica's roots as someone who pulled themselves out of obscurity and earned everything she has. To the true elite, the ones born into power, the status that comes to eating at a place like this (like Helena and maybe Marion and Yuriko, I suspect) is everything. For Donnica, she doesn't need it because she's taken so much for herself, and she's good with what she's earned on her own. If she ever becomes a regular there, it'll be because of the work she's put in, earning her spot there. That's the only way it would mean something to someone like her.

And this was really driven home when Donnica's main thought at seeing the elegant setup was about the dinner she had planned with Amber, Annabel, and Trevor, rather than power structures or ways to take her "rightful place' among these elites. I think that says more about Donnica than anything! 

I also like how quickly she was clocking everything Marion and Yuriko were doing during the meal. She knew they were like her in a way, powerful women who demand rather than ask. She knew when she was being tested, and she knew when to speak up instead of becoming the butt of a joke. She also knew not to bombard them with questions but which one she could appropriately sneak in.

And confirmation that Helena's Kingdom is the only one in the Sisterhood was interesting, by the way. That seems to reinforce my theory that breaking into the Seed Code is about expanding the Kingdom to other Sisterhood communities rather than increasing the size of Helena's own Kingdom. Helena should really thank Celine for that gift!

But yeah, we didn't really get a lot of new lore introduced here, but we did get a lot of confirmation about stuff we (but not Donnica) already kind of knew, though. The Sisterhood believes a "final wave" of the virus is coming and that only people like those in the Sisterhood are going to be left by the time its done. We know they believe that there's a "proper" way to rule tinies, although I'm not completely sure that they understood Donnica's definition of "proper" in that context. This could be a point of contention between the two sides (because, let's face it, Donnica's always on her own side) down the road.

And we also know that the Sisterhood leadership isn't thrilled about her relationship with Trevor. The way they pushed that issue, with Yuriko poking Donnica with that line, "Trevor? Is that the slave's name?" was interesting. I wonder what they were intending to say to Donnica about it before Donnica shut that shit down! Or maybe that was the intent: to gauge Donnica's passion on the issue and maybe pressure her to properly subjugate Trevor if she came off at all passive on the issue.

Instead, Donnica laid down the law! And she did it in a way that they had to respect. She didn't give them the "he's special" line, trying to convince them that she's in the right. She isn't beholden to anyone, and she made that perfectly clear! There's no reason to justify herself to them. She's the ruler, and she decides who will rule with her. If other people find the fact that her partner is tiny to be contradictory or hypocritical, that's their problem, and she has no time for it! I fucking loved this moment!

But we also saw Donnica softening up to the Sisterhood a bit by the end of things. She's starting to think of Helena on slightly friendlier terms, and she seemed to really enjoy the comradery she was sharing with the other three women, equals in her mind. That's potentially a scary prospect, especially with Yuriko's comment about Donnica maybe "unlearning" some stuff, but I'm really not concerned. I do think you're going to make us sweat a bit at some point, but I have no doubt that Donnica will always choose Trevor in the end (even if loses herself for a minute and chooses something else in the short term). And I still say that the bond these women seem to share, as well as the bond the Sisterhood shares with their subjects, is empty (The Hollow was a great name for the restaurant in that regard). Helena and company think what they have is better only because they don't have what Donnica has with Trevor.

That's why they're going to lose in the end. Now what losing means and what winning looks like for Donnica is still pretty hard to predict at this point, but I think Donnica will ultimately be at odds with at least some of these women and come out on top at the end.

Oh, and it looks like my way-to-soon prediction that Marion is Penelope's mom was wrong, since she's from the U.S. But it seems like both Marion and Yuriko received their "training" in England just like Helena did, so I'm thinking that Penelope's mom was the one who trained them. That would make her pretty high up in the organization, I'd think, especially since Marion and Yuriko are pretty advanced within its ranks on their own.

This was a great way to cap off the chapter overall! The dinner conversation was tense at times, fun at others, and greatly enjoyable overall. And the vore, again, was awesome!

Author's Response:

"Okay, first and foremost with S3, that vore scene? Holy fuck, man! You've been nailing those in this story, but this last one was so fucking good! Better than the one in the previous chapter, and that one was fantastic in its own right!"

Haha man, I was waiting for your reaction! I put a ton of work into that one… honestly, it might’ve gone through more revisions than any other SMUT scene I’ve written so far. I always want these scenes to land, maybe even more than the stuff I’m naturally drawn to, because I love the challenge of making them great!

So yeah, I’m thrilled it landed for you… and just for the record, there’s definitely more vore on the horizon ;)

 

"I also appreciated how you emphasized the different approaches each giantess took to their meal, and I think that gave us some insight into who each one is."

YES! I’m so glad that came across. I really wanted to make their eating styles extensions of their personalities… to show rather than tell, as it were. Four powerful women, all equals, but each expressing their dominance in her own distinct way. It took a lot of planning to make it feel organic rather than gimmicky, so hearing you caught all that detail (especially Helena’s stress eating) made my day.

Can’t wait to see what kind of fallout that meeting leaves behind...

 

"To be clear, I'm not saying that Helena has a problem with eating tinies. I just don't think she's into it. Or maybe she does and just buries it deep, right next to her feelings for Celine."

Oh, for sure… Helena doesn’t have issues with it. She sees it as part of the Sisterhood’s order, something ritualistic that she upholds without hesitation. But that little jab about her repressed feelings? Perfect. Absolutely perfect. I was grinning reading that line.

 

"The Kelly angle in this segment was so much fun! Getting a ground-level perspective of those "descending fingers' was really ... fuck, man! That shit alone was prime "field testing" material! And that line about the gods absently choosing their meals? Fanfuckingtastic!"

Yes, my dude! That’s the best compliment anyone can give a SMUT writer… that the material was properly ‘field tested’ haha! Kelly’s POV was essential for that scene. It made it way more complicated (and way longer) to write, but it was the only way to capture the terror, awe, and twisted intimacy of what was happening above her. Totally worth it.

 

"But Kelly's "journey" was great, too. The fact that she put so much faith in Donnica despite how unlikely it seemed like Donnica would help her. That helped sell her desperation; despite how little Donnica cared about her, tormented her in the nail salon even, Kelly still convinced herself that Donnica would save her. And the way she pushed that dude into Marion's elegant fingers was shitty of her, of course, but fuck was it sexy as hell thinking about Marion gently trying to shake him off her sticky fingers and "resigning" herself to eating him instead of the curiosity she'd been eyeing all meal."

I was really worried that Kelly’s belief in Donnica would feel too far-fetched, so I’m glad it worked for you. I went back and forth on that section countless times, trying to frame her hope as pure desperation… because when you’re facing certain death, you’ll cling to any illusion of rescue.

And yeah, that bit with the guy stuck to Marion’s fingers? I almost cut it during revisions to save time, but I’m so glad I didn’t. It really made the climax of Kelly’s journey all the sweeter.

 

"Then Donnica recognized her and ate her anyway! The perfect end to Kelly's journey! That "Oh, it's you" line cracked me up, because I knew exactly what was coming! Fuck that whole thing was good!"

Haha, yeah… that “Oh, it’s you” moment was basically Kelly’s whole arc boiled into one cold shrug. That split second where all her hope dies before she does. It was simple, cruel, and exactly how I wanted to punctuate the scene.

 

"And while I'm still on the vore stuff, the Lover's Delight was a lovely way to end the meal. To back married couples into the dough like that and intentionally separate them before eating each one is a special kind of casual cruelty, so of course Yuriko is the one to show Donnica the proper way to do it! Yurilo talking over the screaming husband, paying him no attention as she excitedly talks about the desert with Donnica was amazing! Also, the fact that they would (allegedly) go out of their way to make sure these are actual couples they're serving is even more delightfully evil. The Sisterhood is really particular about the role each tiny plays in their system."

I've gotten so much great feedback on the Lovers’ Delight (through reviews, messages, everything) that it’s honestly making me want to sit down and dream up another specialty dish! My favorite bit of “casual cruelty” in that whole sequence was definitely when Donnica teases Yuriko about indulging in an “impure” dessert, and Yuriko just laughs it off with, “Even the Japanese love dessert.” I don’t know why, but that exchange made me grin so much while writing it.

 

"And this was really driven home when Donnica's main thought at seeing the elegant setup was about the dinner she had planned with Amber, Annabel, and Trevor, rather than power structures or ways to take her "rightful place' among these elites. I think that says more about Donnica than anything!"

Yeah, I’m always trying to find ways to draw that line between Helena and Donnica, and I thought the contrast in how they each entered and experienced the restaurant was the perfect opportunity to do it. I’m so glad you noticed that (and even wrote three paragraphs on it!) it’s one of those details I poured way too much time into and assumed would just quietly pass under the radar, so seeing it picked up was FIRE!

 

"And confirmation that Helena's Kingdom is the only one in the Sisterhood was interesting, by the way. That seems to reinforce my theory that breaking into the Seed Code is about expanding the Kingdom to other Sisterhood communities rather than increasing the size of Helena's own Kingdom. Helena should really thank Celine for that gift!"

Ahhh yes… the Seed Code! What could that mystery be all about?

We’ll be heading back to the Kingdom soon, and I’m honestly so excited to revisit that part of the world. My writing pace is glacial though… when I released that first Kingdom chapter a few months back, I thought I’d be returning to it right away, but these other storylines just keep growing on me. One day, I will finish this story… I swear!

And yes, Helena really should be grateful for Celine… shouldn’t she?

 

"Instead, Donnica laid down the law! And she did it in a way that they had to respect. She didn't give them the "he's special" line, trying to convince them that she's in the right. She isn't beholden to anyone, and she made that perfectly clear! There's no reason to justify herself to them. She's the ruler, and she decides who will rule with her. If other people find the fact that her partner is tiny to be contradictory or hypocritical, that's their problem, and she has no time for it! I fucking loved this moment!"

This was such a fun moment to write! I’d been waiting for a chance to really test Donnica against equals, and this was it. She spent most of the scene playing it cool, carefully navigating the table, but the second Trevor came up, her restraint was gone. That’s her line in the sand.

At first, I wasn’t sure how I was going to resolve that conflict, but it came together naturally: Donnica gets to have Trevor because she decides it. No justification, no defense… just authority. And of course, that made sense within the Sisterhood’s logic too. Power respects power, and Donnica simply commanded it. It ended up clarifying a lot about how the Sisterhood truly works.

 

"But we also saw Donnica softening up to the Sisterhood a bit by the end of things. She's starting to think of Helena on slightly friendlier terms, and she seemed to really enjoy the comradery she was sharing with the other three women, equals in her mind. That's potentially a scary prospect, especially with Yuriko's comment about Donnica maybe "unlearning" some stuff, but I'm really not concerned. I do think you're going to make us sweat a bit at some point, but I have no doubt that Donnica will always choose Trevor in the end (even if loses herself for a minute and chooses something else in the short term). And I still say that the bond these women seem to share, as well as the bond the Sisterhood shares with their subjects, is empty (The Hollow was a great name for the restaurant in that regard). Helena and company think what they have is better only because they don't have what Donnica has with Trevor."

Ah yes, Donnica did start to warm up a bit, didn’t she? For all her suspicion and pride, the allure of that kind of power is hard to resist. I’m really curious to see how the people closest to her react to this new opportunity, maybe we’ll get some answers next chapter ;)

And I love how fiercely you champion her bond with Trevor. That connection really is the heart of the story… it’s weathered everything so far, but I wonder how much more it can take…

 

"Oh, and it looks like my way-to-soon prediction that Marion is Penelope's mom was wrong, since she's from the U.S. But it seems like both Marion and Yuriko received their "training" in England just like Helena did, so I'm thinking that Penelope's mom was the one who trained them. That would make her pretty high up in the organization, I'd think, especially since Marion and Yuriko are pretty advanced within its ranks on their own."

Yeah, one thing’s for sure… something big happened in England. Between Helena’s mentions last chapter of the old castles that she did her fellowship in and her shared “training” history with the other women in this chapter, it’s clear there’s a deep connection there. And of course, we know she’s still bound to Penelope’s mother in some way, who just so happens to live there too.

Will DAW be going international soon? Maybe ;)

 

"This was a great way to cap off the chapter overall! The dinner conversation was tense at times, fun at others, and greatly enjoyable overall. And the vore, again, was awesome!"

You know me, man… I’m always pumped to hear your take on the vore scenes! I’m so glad it landed the way it did. And yeah, I can’t resist layering in a bit of lore and worldbuilding beneath the chaos (even if it’s stuff that’s been implied for ages, it’s nice to finally confirm it outright).

Thanks as always for the review, brother… your breakdowns are always a highlight to read!

Reviewer: GiantessLover21 Signed [Report This]
Date: October 21 2025 12:20 AM Title: PART 35

Finish S1 what an incredible segment 

Author's Response:

I LOVE that you enjoyed that segment so much you had to drop in and let me know ;)

There’s so much going on in that part... definitely the most layered, complex scene in the chapter!

...and of course it features everyone's favorite redhead: Scarlett!

Reviewer: It Was Me Signed [Report This]
Date: October 19 2025 5:58 PM Title: PART 34

Wow! Now that we have a better understanding of imprinting, seeing what it's doing to Rebecca (and possibly Amber) hits so much harder! I know we've seen this before from her, man, that internal struggle inside Rebecca as her "new programming" overrides who she naturally is left me so heartbroken for the back third of S2!

And seeing the gradual way that it ate away at Rebecca's resistance as Amber kept pushing was particularly sad. The moment where she noted in the narrative that she wanted to be owned, that Amber declaring ownership over her brought her joy, was especially sad, whereas before I would have just questions if that was her giving into some secret desire or something darker was at work. Now we know that it's more of a biological function, a scar leftover from Rebecca's side of the abuse they put each other through in their early days together.

Or did the imprinting "complete" after they ended up together? Is it even completed? Was it Amber and Rebecca giving into their passion for one another that put Rebecca in situations to become fully imprinted (if she is, in fact, fully imprinted yet)? We still don't know enough about the process to be able to tell for sure. But we do know enough to be able to say that Amber is now hurting Rebecca in a way she can't even understand, which may well be the most tragic part of all this. 

However, I think it says a lot about Rebecca that's been able to resist Amber as much as she has all this time. Despite Rebecca's inability to resist once Amber really turns up the authoritative heat, the fact that she's been able to argue with Amber and tell her to back off, even in this very chapter, says a lot about her strength of will. Some of that might also have been Rebecca's feelings for Scarlet, which definitely haven't been influenced by imprinting, shining through, as she was her fiercest against Amber when defending Scarlet. That's an interesting potential development to keep an eye on as well.

But another reason Rebecca might be able to sometimes tell an angry Amber off (or at least she was able to up until this point; we'll see if Amber follows through on cracking down on Rebecca in the chapters ahead) might have a lot to do with Amber herself. We know that the personal feelings between giant and tiny can play a serious role in imprinting because of Vivara's explanation to Donnica regarding why Trevor hasn't been subject to the full effects of imprinting (this might also have something to do with Juliette and Clara's unique dynamic as well). So it could be that Amber's love and admiration for Rebecca has given the tiny a bit more free will in the process than the average imprinted tiny.

Or the answer could be much simpler. Amber complained in the narrative about allowing Rebecca to have small victories (and stated her intention to put an end to that). It could be as simple as Amber backing down a lot of the time out of respect for Rebecca. Or guilt. She's done a lot of bad shit to Rebecca, and that shit usually weighs pretty heavily on her later. I feel like how she treated Rebecca in this scene will end up being one of those times at some point in the future (or maybe even right now, on some level), for example.

And Amber's behavior here is no less interesting than Rebecca's. Or rather, what's behind the giant blonde's behavior. All of the factor's leading into Amber "snapping' were laid out a couple times in the segment: sexual frustration from honoring Rebecca's decline for morning sex, annoyance at the drill not going well/Rebecca pushing them so hard, Rebecca's near-death experience, seeing Rebecca held by a nude Scarlett, and months of noticing the signs of Scarlett's feelings for Rebecca. That all makes sense, and all of them surely played a major role in Amber's attitude here, but there are two potential factors that aren't mentioned: the scars of Amber's abused past and the imprinting process itself.

I mean, Amber certainly wouldn't be the first victim of abuse to end up engaging in abuse herself. That shit can be an endless cycle of pain and suffering, something Rebecca understands all too well, given how she's spoken to Amber at times (even after they officially started dating). It makes total sense to me that Amber would engage in similar behavior when she feels pushed to the brink, especially with Rebecca being so defenseless and unable to walk away, even if she wanted to. And Amber, like other abuse victims who have been shoved down this path, is likely completely unaware of how that trauma, those feelings still buried deep and engrained into her very being now, are causing her to hurt the one she loves!

Well, mostly unaware, perhaps:

Amber moaned, fingers curling harder, then her other hand descended again, this time not gentle, not slow. She gripped Rebecca roughly and pushed her deeper, thrusting her against the slick, pulsating heat of her inner folds. Her rhythm was jagged. Wild. She didn’t care if it hurt. Rebecca would yield. Rebecca would give her everything.

In the heat of the moment, she knows she's hurting Rebecca, to some extent at least. But that sort of thing can also be easy to dismiss, with Amber telling herself that Rebecca was fine afterward, so it's okay. Rebecca didn't even complain, so it's no big deal, right?

Of course, Amber's hypocrisy isn't something she can see herself, not even thinking back to just minutes before, when she told Scarlett in a rage that she loved Rebecca and would never hurt her. So yeah, that line above, to me at least, seems to imply that Amber's tragic past is still haunting her in ways she doesn't even realize. I mean, Rebecca did note back when she first realized Amber was being abused that the girl needed therapy, and Amber never went to see a therapist, so of course she's unable to manage the violent reverberations of her own abuse.

The other factor here could be the effect that imprinting is having on Amber herself. Granted, some of the things I've noticed and believe might be attributed to this could also fit into that cycle of abuse I mentioned above, but I'm still suspicious imprinting doesn't just affect tinies.

There were a couple points in this segment in which Amber knew she was in the wrong, a voice in the back of her head telling her to be reasonable and showing her that her anger was unwarranted, that she was making a big deal out of small misunderstandings and taking things way too far. But there was an urge, a need, almost, that caused her to ignore that voice and give in to that anger, to that need to punish.

We've seen in past chapters how both Rebecca and Amber have given in to "something ancient and primal" during sex/fights. Amber also brought herself to tears during their fight over helping Naomi, wondering to herself why she keeps doing these things to Rebecca.

And here, in this segment, we saw Amber relish in being dominant, forcing her will on Rebecca. It didn't come off to me that she was just enjoying it; it seemed to feel right to her, instinctual in nature. That sounds a lot like Amber's previous aggressive behavior toward Rebecca. Yet, as noted above, Amber always ends up regretting that after the fact.

So is this primal desire something biological and beyond her control? Because Amber trying to talk herself out of punishing Rebecca, telling herself that she was overreacting, is what makes this whole thing so tragic to me. Amber is a good person. We've seen several examples of this, as both Rebecca and now Trevor can attest. She's innocent and has a big heart. But she's being pulled away from all that by these all-consuming emotions that lead her to do terrible things, things that leave her feeling guilty and ashamed of herself once she's thinking rationally again.

Is that just a biproduct of her abuse, a "gift" left behind by her mother's former lovers? Or is there something deeper at work here. something driven by the very bond she cherishes more than any other?

Oh, and it probably doesn't help that her "role model" for most of her life, Donnica, isn't exactly what I would call emotionally healthy herself! I imagine that probably has something to do with the way Amber processes stress too!

And, of course, the irony of Rebecca being on the receiving end of so much ire from Amber after being the actual victim of both incidents isn't lost on me, either. She was almost crushed and was nearly suffocated by Scarlett's clothes, and now Amber is "punishing" her. It's hard not to be frustrated for poor Rebecca, who, like a good little domestic violence victim and/or cult member, accepts the blame for her own suffering (and being held in the hand of a naked giant, something she had no actual control over).To be fair, Rebecca did brush off both incidents, so it was likely easy for a frustrated Amber to not think about that and focus more on herself, but, while understandable and even relatable, that doesn't really make it any better,.

I have a question! As I've mentioned before, I'm not well-versed in soccer, so while I could clearly visualize what Amber and Scarlett were doing in that scene on the practice field, there's a lot about the significance of what they're doing that I don' understand. As a sports fan in general, however, the language "resigned to the failed play" stood out to me. Scarlett took the blame for the soccer ball incident and clearly felt guilty about it, but was it really her fault?

Even if a play (or whatever the equivalent is for a given sport) isn't going according to plan, I don't think giving up on it is the right way to handle it. Even in drills, you should go hard the whole time, even during mistakes. We also saw Scarlett being eager to try to learn what Rebecca was teaching them while Amber wasn't thrilled with being forced to run the drill again.

So Amber being unprepared for Scarlett trying to salvage the rep would really fall on Amber, right? That was kind of my takeaway from the incident. But I don't know enough about the sport to be sure. Maybe Scarlett was being irresponsible and putting Amber in an impossible position without thinking about Rebecca? I kind of doubt that, but I'm hoping you might offer your "football" (insert arrogant American tone here) expertise and clarify this for me, if you'd be so kind.

I love how both Scarlett and Amber have clocked each other regarding Rebecca in this segment. Amber is piecing together that Scarlett has a thing for Rebecca and might be a "threat" to take Rebecca from her, and Scarlett has recognized clear signs that Amber is abusive to Rebecca at times. While it wasn't stated explicitly, the way Scarlett asked Rebecca if she was okay and talked to Amber after the backpack incident seemed to indicate that Scarlett has noticed Amber's "less-than-kind" treatment of Rebecca for a while now.

Speaking of which, I loved how Scarlett acted around Amber at that point: talking slowly, trying to keep her calm, and keeping her eye on Amber. That behavior makes it pretty clear that Scarlett believes that Amber is capable of actually hurting Rebecca. It also makes me wonder if she has some experience with situations like this. I don't think Scarlett was abused, but maybe she knows somebody who has been and has tried to help them through it (maybe an old tiny girlfriend?). Or maybe she wants to get into a career that involves helping abuse victims. In any case, I got the impression that Scarlett is more familiar with this sort of thing than the average teenager.

And Amber refusing to see what's obvious, too worked up and afraid of Scarlett coming after Rebecca to register that Scarlett has good reason to be so concerned. If their roles were reversed, I imagine that scene would have ended with Amber punching Scarlett in the face in an effort to save Rebecca (which might not have ended so well). But Amber just can't see it, which, again, just makes the whole thing so much sadder.

I was also interested to see a couple girls on the team still have such an issue with Scarlett. I know things have been looking better for her socially, between her (now strained) friendship with Amber and her getting into that practice group of elite players, so I was wondering if that had spread to the whole team. It obviously hasn't.

And both with the two bullies and Scarlett herself, you did a fantastic job of selling their size, as usual. The footsteps are always a nice touch, and the consistency with which you describe them still gives them a greater impact to read, even after all this time. Same with the voices, and even the way Rebecca was jostled about when the bullies picked up Scarlett's bag.

And the way you guided us through Rebecca dealing with the situation, the smell, the lack of fresh air, and even the way Scarlett's sweat and dirty clothes made it so easy to feel everything. I'm not a smells guy by any means, but I can still appreciate the artistry of conveying Rebecca's struggle to survive (and not get turned on) so vividly. Well done!

Man, I can't wait to see where things go with these three from here. I have no idea if Scarlett and Amber will be able to salvage their friendship after this, if for no other reason than Rebecca herself. I think they can get past being upset with each other in the moment, but can Scarlett move past the apparently nagging concern that Amber is abusing Rebecca? And how can Amber possibly allow Scarlett to see Rebeca again now that she's certain that Scarlett wants the tiny for herself? Not to mention that I'm sure there's a sense of betrayal lingering somewhere in Amber's mind, even if she realizes that Scarlett didn't actually make a move.

But crazier shit has happened, so who knows?

Anyway, awesome segment! Again, the blend of smut and drama hit the sweet spot, keeping me engaged with both the narrative and the more fetish-y end of things (that shower scene, though!).

Author's Response:

"But another reason Rebecca might be able to sometimes tell an angry Amber off (or at least she was able to up until this point; we'll see if Amber follows through on cracking down on Rebecca in the chapters ahead) might have a lot to do with Amber herself. We know that the personal feelings between giant and tiny can play a serious role in imprinting because of Vivara's explanation to Donnica regarding why Trevor hasn't been subject to the full effects of imprinting (this might also have something to do with Juliette and Clara's unique dynamic as well). So it could be that Amber's love and admiration for Rebecca has given the tiny a bit more free will in the process than the average imprinted tiny."

Yeah, I think the fascinating thing about imprinting when it comes to Rebecca and Amber (at least based on what we’ve learned so far) is how much of it is tied to their emotional connection as well as their ‘biology’. On the surface, it looks like imprinting is what’s pulling them together, but it could just as easily be pushing them apart by the way it shapes their behavior… especially Amber’s.

We’ll be diving back into The Kingdom soon, and the meaning behind imprinting will start to expand a little. I love that you’re drawing these connections from this storyline (Amber and Rebecca), even though it isn’t directly about (or directly referencing) imprinting, it still reveals a lot about how it really works beneath the surface.

 

"And Amber's behavior here is no less interesting than Rebecca's. Or rather, what's behind the giant blonde's behavior. All of the factor's leading into Amber "snapping' were laid out a couple times in the segment: sexual frustration from honoring Rebecca's decline for morning sex, annoyance at the drill not going well/Rebecca pushing them so hard, Rebecca's near-death experience, seeing Rebecca held by a nude Scarlett, and months of noticing the signs of Scarlett's feelings for Rebecca. That all makes sense, and all of them surely played a major role in Amber's attitude here, but there are two potential factors that aren't mentioned: the scars of Amber's abused past and the imprinting process itself."

Oh man… great catch on both counts! Amber’s trauma definitely bleeds into how she handles intimacy and conflict. It’s an open question whether she’s aware of it in her quieter moments (she’s had no therapy, no real self-work) but she’s not completely blind to her damage either. Sometimes awareness alone is enough to spark those small, painful moments of reflection that lead to growth. What will it lead to when it comes to Amber…

 

"The other factor here could be the effect that imprinting is having on Amber herself. Granted, some of the things I've noticed and believe might be attributed to this could also fit into that cycle of abuse I mentioned above, but I'm still suspicious imprinting doesn't just affect tinies."

I love this point! It’s such a sharp observation… and one that might become increasingly relevant later on. Imprinting is more complicated than it seems, and the idea that it might be a two-way street is absolutely a good guess! Your suspicions might be spot-on ;)

…though the type of effect it has in reverse might surprise people.

 

"So is this primal desire something biological and beyond her control? Because Amber trying to talk herself out of punishing Rebecca, telling herself that she was overreacting, is what makes this whole thing so tragic to me. Amber is a good person. We've seen several examples of this, as both Rebecca and now Trevor can attest. She's innocent and has a big heart. But she's being pulled away from all that by these all-consuming emotions that lead her to do terrible things, things that leave her feeling guilty and ashamed of herself once she's thinking rationally again."

Yeah, I’m really glad Amber’s coming across as tragic more than simply cruel. She’s done terrible things, but there’s a sadness in how she repeats what she’s endured. Between her trauma and the primal pull of imprinting, she’s caught in something much bigger than she understands.

 

"Oh, and it probably doesn't help that her "role model" for most of her life, Donnica, isn't exactly what I would call emotionally healthy herself! I imagine that probably has something to do with the way Amber processes stress too!"

Great point! Maxime made a similar observation in his review about the parallels between Amber and Donnica in this segment. The controlling behavior, the jealousy, the emotional volatility… the resemblance is undeniable. Makes you wonder just how deep those similarities really go, or what else they have in common.

 

"And, of course, the irony of Rebecca being on the receiving end of so much ire from Amber after being the actual victim of both incidents isn't lost on me, either. She was almost crushed and was nearly suffocated by Scarlett's clothes, and now Amber is "punishing" her. It's hard not to be frustrated for poor Rebecca, who, like a good little domestic violence victim and/or cult member, accepts the blame for her own suffering (and being held in the hand of a naked giant, something she had no actual control over). To be fair, Rebecca did brush off both incidents, so it was likely easy for a frustrated Amber to not think about that and focus more on herself, but, while understandable and even relatable, that doesn't really make it any better."

Another day in DAW, another terrible thing for poor Rebecca to survive! Business as usual in this world of beautiful cruelty.

 

"I have a question! As I've mentioned before, I'm not well-versed in soccer, so while I could clearly visualize what Amber and Scarlett were doing in that scene on the practice field, there's a lot about the significance of what they're doing that I don' understand. As a sports fan in general, however, the language "resigned to the failed play" stood out to me. Scarlett took the blame for the soccer ball incident and clearly felt guilty about it, but was it really her fault?"

OH MY GOD, dude! I can’t believe you noticed that, yes! It was totally more Amber’s fault than Scarlett’s. Scarlett was trying to salvage a broken play, but Amber had already checked out, deflecting the ball instead of engaging. If she’d stayed alert, she probably would’ve been ready for the pass. You could technically blame both, but Amber absolutely was more in the wrong here!

I’m honestly impressed that you noticed this haha. It’s why I love these reviews man.

 

"I love how both Scarlett and Amber have clocked each other regarding Rebecca in this segment. Amber is piecing together that Scarlett has a thing for Rebecca and might be a "threat" to take Rebecca from her, and Scarlett has recognized clear signs that Amber is abusive to Rebecca at times. While it wasn't stated explicitly, the way Scarlett asked Rebecca if she was okay and talked to Amber after the backpack incident seemed to indicate that Scarlett has noticed Amber's "less-than-kind" treatment of Rebecca for a while now."

Yes, exactly! This was the moment where both giantesses really saw each other for the first time… what they wanted, what they feared, what they’d do to protect or possess Rebecca. It was all instinct and emotion, spiraling fast before either of them could think. Their next meeting (spoiler: it opens the next chapter) is where we see the fallout of all that! Because tempers do calm, and realizations dawn… it’ll be interesting to see how they both react after things have settled.

 

"Speaking of which, I loved how Scarlett acted around Amber at that point: talking slowly, trying to keep her calm, and keeping her eye on Amber. That behavior makes it pretty clear that Scarlett believes that Amber is capable of actually hurting Rebecca. It also makes me wonder if she has some experience with situations like this. I don't think Scarlett was abused, but maybe she knows somebody who has been and has tried to help them through it (maybe an old tiny girlfriend?). Or maybe she wants to get into a career that involves helping abuse victims. In any case, I got the impression that Scarlett is more familiar with this sort of thing than the average teenager."

As always… amazing catch. Scarlett absolutely has a deeper understanding of tiny/giant relationship dynamics than most people her age. You’re right to suspect there’s history there. We’ll be delving into her personal life soon, and I’m really excited to show what shaped her empathy and the way she carries herself.

 

"And Amber refusing to see what's obvious, too worked up and afraid of Scarlett coming after Rebecca to register that Scarlett has good reason to be so concerned. If their roles were reversed, I imagine that scene would have ended with Amber punching Scarlett in the face in an effort to save Rebecca (which might not have ended so well). But Amber just can't see it, which, again, just makes the whole thing so much sadder."

Yeah, that’s such a sharp read. It really comes down to upbringing… Amber and Scarlett are two products of entirely different worlds. Amber grew up in chaos: an absent father, a somewhat distant mother, and layers of abuse. Scarlett, on the other hand, seems to come from a home filled with love and stability. When those two worlds collide, you can feel the difference immediately in how they respond to the same situation.

 

"And the way you guided us through Rebecca dealing with the situation, the smell, the lack of fresh air, and even the way Scarlett's sweat and dirty clothes made it so easy to feel everything. I'm not a smells guy by any means, but I can still appreciate the artistry of conveying Rebecca's struggle to survive (and not get turned on) so vividly. Well done!"

I love hearing that… even from readers who aren’t into a particular part of the fetish I am exploring! For me, the SMUT scenes are like the action sequences in an action story… they’re where emotion, tension, and theme all collide in physical form. So it’s always satisfying when those scenes still work as storytelling moments, even for people who aren’t reading them (mostly) for the erotic angle.

 

"Man, I can't wait to see where things go with these three from here. I have no idea if Scarlett and Amber will be able to salvage their friendship after this, if for no other reason than Rebecca herself. I think they can get past being upset with each other in the moment, but can Scarlett move past the apparently nagging concern that Amber is abusing Rebecca? And how can Amber possibly allow Scarlett to see Rebeca again now that she's certain that Scarlett wants the tiny for herself? Not to mention that I'm sure there's a sense of betrayal lingering somewhere in Amber's mind, even if she realizes that Scarlett didn't actually make a move."

That’s the big question, isn’t it? Once you see someone’s true nature, it’s impossible to unsee it. They might move on, but that awareness lingers. Whether they can rebuild anything after this (or what it’ll look like if they do) is going to be really interesting to explore. Their next encounter is… interesting!

 

"Anyway, awesome segment! Again, the blend of smut and drama hit the sweet spot, keeping me engaged with both the narrative and the more fetish-y end of things (that shower scene, though!)."

Haha, you know how it is… always trying to hit that perfect sweet spot between story and SMUT! I really loved how that scene came together, especially how the fight bled straight into the sex, making it raw and emotional. Those charged, possessive emotions always make for the most explosive (hot) moments.

Reviewer: It Was Me Signed [Report This]
Date: October 15 2025 6:04 PM Title: PART 34

The fight that followed tore through the house like a thunderstorm. Screaming. Accusations. Slamming doors. Her father calling her mother a controlling bitch. Her mother firing back that he was soft, that he was raising a weakling. Naomi had curled up in her bed that night and cried herself raw, the registration forms still folded neatly on her desk.

There's a lot to get to after reading S1, but this really jumped out at me. Aside from the satisfaction I felt at reading about Naomi's dad calling Victoria a controlling bitch, the bolded part struck me as absolutely brilliant!

We had just spent several paragraphs being told about how incredibly disorganized, how careless Naomi's bag had been, just the latest in a several passages since her return to the story to indicate that she is like that in practically all things. Then during this trip through memory lane, one brief sentence tells us that she was once very much the opposite. She used to be organized, driven, and hopeful. She used to have dreams, and she was even willing to fight for them, as she kept trying to explain to her mother that art school was a worthwhile endeavor.

And then Victoria took all that away from her.

The fight was bad enough, but for Victoria to march into Naomi's room unannounced and blame her for it? I really didn't think I could hate this woman more than I already did. It's one thing to know that Victoria's abuse is the reason Naomi is the way she is, but it hits so much deeper to see the particulars, the little details of it like this.

And that brief mention of the registration forms, the thing she wanted so badly, being folded neatly on her desk drove the point home more than paragraph after paragraph of simply explaining Naomi's transition ever could. Show, don't tell at its absolute best!

I also absolutely loved the gaping contrast between Annabel's structured world and Naomi's clusterfuck of a life as illustrated throughout the first half of the segment. Even at the beginning, when Annabel is alone, she's so organized that she took the stairs to her apartment to make up for not being able to fit her workout into her busy schedule. Her suffering screamed efficiency every literal step of the way!

But then to see Annabel struggle to contain herself with each new example of Naomi's messy, uncaring way of approaching life was so interesting to me. It amazed me that Annie held it together as well as she did, a sign as clear as any other of how much she cares about Naomi. She even found that brief silver lining when she indulged in the "defective" slaves' devotion after sending Naomi to clean the cages.

I also thought it was so funny that Annie freaked out about Naomi's backpack being left on the dinning table, only for the bag and all of the mess within to end up on that same table just minutes later.

Given who Annie is, I can't blame her for finally hitting her breaking point with the contents of the bag and falling into the same kind of rant Naomi always shut herself off from. But she realized what she had done after the fact, and it really hurt her to be like all those other authority figures who just endlessly criticized Naomi but never once made an effort to help her. It was gratifying to see Annabel recognize this, as I feel as though all the others had already dismissed Naomi by the time they were done ranting and lecturing. That self-awareness was so great to see in her.

Thinking about the larger story, I honestly don't think the Annie we saw in the earlier chapters would have been capable of anything close to the level of understanding she displayed up to that point, let alone after it. I believe she has Trevor to thank for this, that lesson on empathy teaching her that people doing things to upset her have their own problems, troubling issues driving their behavior that Annie had never considered before. Sure, Naomi wasn't a bully like the ones she thought of when everything clicked for Annie, but the same logic applies here.

There was a time where Annie would give zero thought to, let only actually care about, why Naomi was so lazy, careless and useless. Hell, we saw a little bit of that the first time these two appeared on the page together. Annie was brutal to her without consideration for what Naomi might have been going through. But once she saw it in Naomi, she knew what it was and her heart was filled with that empathy. We saw some payoff of that here.

But the highlight of this whole segment was Annie discovering Naomi's artistic talents. There was so much wrapped into that moment, but it was seeing the reality of who Naomi is, why she acts so aloof and disconnected from the world around her, that hit me the hardest. Because even though Annie cared about Naomi before that moment, as shown through her restraint, Annie still thought less of her in a way. She still thought of Naomi as lazy, kind of dumb, and needlessly defiant, but seeing what Naomi could do with a pencil, seeing her full talent hidden within the chaos of her bookbag, completely changed Annie's perception of her. Annie recognized that a lot of Naomi's issue was that Naomi had so much talent, so much latent ability, that she didn't know what to do with it. That Naomi was bored with the world around her, so intensely focused on her art, even if no one was supposed to see it, even if it was only for her.

And maybe if that talent had been fostered, embraced, things could have turned out differently for Naomi.

Fuck Victoria!

The warmth that followed for the rest of that half-segment was so touching, so rewarding! Getting to see Naomi finally crawl out of her shell and just be happy, comfortable with herself was one of the more heartwarming moments of the story so far. And the way they both laughed when she said "I dunno" after Annie had been so frustrated and even scolded her over that earlier in the workshop was one of those absolutely perfect full-circle moments that give moments like this so much impact, even if the circle itself all took place within the same segment (actually, that left me even more impressed with it).

It was also awesome to see Annie open up about her own interests in gothic things. I figured that would come up eventually, given what we knew about her and how that might help her relate to Naomi, but that line, "You're a little goth girl, aren't you?" was so powerful. It shows the importance of tone and context, because those very words could easily be taken as insulting and mocking depending on the situation. But the warmth and joy with which Annie says them really opened Naomi up and brought the two of them closer together.

It also makes sense to me that Annie's parents didn't approve of that lifestyle and seemingly tried to pull her out of that "phase" with structure and rules. It was still sad to read, though. It's nowhere near what Naomi is going through (at least as far as we know so far), but it does make me wonder how differently Annie might have turned out if her parents hadn't discouraged her from expressing herself, from being herself.

I also can't say enough how much I loved seeing Naomi relate to Annie's feelings just as much as Annie was relating to hers. Annabel showed some vulnerability here too, talking about how she felt like she couldn't be herself because she was mocked at school for wearing that cloak. Naomi has been through so much worse than that, but she didn't judge Annie through that lens; she understood the pain of ridicule in a broader sense and empathized.

And seeing Naomi, who hasn't cared about anything other than crushing tinies for most of her screen time so far, be so encouraging to Annie made me smile, too! When she sized up Annie and pictured how Annie would look in gothic clothing, it felt special. And the longing in her words when she asked why Annie had never dressed that way, properly expressed herself, was so incredibly sweet! Again, getting to finally meet the real Naomi was such a satisfying thing!

Also, of course Annie has a fuckton of goth stuff she just never wears! That's so very her, purchasing things that make her happy, even knowing she could never wear them, giving them their proper place in her closet. She never half-asses anything!

And Naomi's excitement at being show this altar is palpable. She expressed just what goth meant to her right before that, but to see it here made it clear just how deep that passion runs within her. Annie telling her that it was time to get dressed right after that was such a happy moment, so much more meaningful than if Annie had merely offered for her to try things on. The dressing of each other was also such a cool bit, and I love how you emphasized that this was a platonic thing. Because the symbolism of that moment ran so much deeper than that, with each of them encouraging, embracing each other's shared passion without having to say a word to one another.

And then there was the GRSP stuff.

Having this continue to play out in the story's background as you keep moving things forward with the plot and characters in the foreground has been executed so masterfully so far. Those little mentions in passing since Helena first brought the case up in trash town have been sprinkled in just enough to make sure we don't forget that it's happening in real time.

But when Annie mentioned those blindspots in the "sheltered" tiny communities, I was almost as excited as Naomi was when talking about goth! Having this come up in discovery during the lawsuit was a nice touch that made the revelation feel natural, too, as did the budgetary issues that kept the cameras from working properly. But yeah, that trash town scene was awesome, and seeing giants walking through the Kingdom is amazing, but the prospect of seeing a giant Annie and/or Naomi rampaging through a tiny concrete jungle just hit different! Seeing a "proper" rampage scene in this setting, with your descriptions detailing the whole thing, left me eager to see it play out!

And you didn't disappoint! Naomi's casual stroll through tiny government housing was phenomenal. Setting the tone with Craig was the perfect way to start it, too. We even got some ... worldbuilding in there, learning that giants routinely get too close to the tiny housing and fuck up their world without knowing or caring. The deliveries had to be particularly devastating, but hearing that a surveyor would get so close just for convenience sake was hot to read, and it didn't even actually happen in this scene!

But man, Craig's story really backed up what the non-working towers had already implied: that GRSP living was already hell. The boarded up windows and "penny-colored water" (ew!) are clear signs that the program is severely underfunded. And even though the story about his girlfriend taking everything after the "breakup" fits what we heard before, that didn't make it any less devastating to read. I mean, I suppose you can't blame the girlfriend for not wanting to date him anymore, but to see how the system so thoroughly skewed in her favor just because she was a giant was painful!

Craig deserved better, but at least he doesn't have to suffer anymore!

Because, fuck, the way Naomi did him in was nothing short of incredible. The tremors, the way Craig gradually went from being annoyed to becoming terrified, his desperation to get out of the building, to live despite how horrible his existence had become: All of it was perfect! And the way he described Naomi and her trek to his apartment was so fucking hot! The boot just standing where his apartment building had once been, not moving because it didn't have to ... Holy fuck, man! Naomi felt fucking massive! I loved every second of this!

Then there was the casual way Naomi went about destroying the block and everyone in it. The constant reminder of the lack of effort she needed to put into the destruction was very much appreciated! God, this scene was fucking incredible!

Have I mentioned that I liked it yet?

Annie sitting back, arms behind her back, and merely taking out the few escapees to evade Naomi's surprising efficient decimation of the tiny world below her ankles (great fucking line, by the way!), was oddly cute, too. Annie admiring how thorough Naomi was fits her personality perfectly, too. And the way Naomi looked over to Annie for permission, for encouragement, built off that last scene so well! Not to mention how all of that bonding and lightheartedness fed into such delicious evilness in a tone clash that beautifully enhanced the latter scene rather than distracted from it.

The ending of the segment felt just right, too. Annie really wants to help Naomi, to take that pain away from her. She can't understand how someone like Victoria could force Naomi, the real Naomi, to hide beneath that empty shell she so often hides behind, to not appreciate Naomi for who she actually is.

But Annie doesn't know how to help her. She's offered refuge, now love and a kindred spirit in which Naomi can confide her love of all things goth, and even a mentor to guide Naomi in the ways of training and destroying tinies. But Annie can't help her deal with the mental trauma that has so deeply scarred Naomi, let alone stop the still ongoing source of that trauma. The powerlessness of Annie in the final few sentences of this segment made my heart ache!

Awesome segment! The balance between emotional depth and smut was seriously impressive!

Author's Response:

"And that brief mention of the registration forms, the thing she wanted so badly, being folded neatly on her desk drove the point home more than paragraph after paragraph of simply explaining Naomi's transition ever could. Show, don't tell at its absolute best!"

Wow! Talk about a detail I never expected anyone to pick up on! I really wanted to draw a clear sense of distance between who Naomi is now and who she used to be, but the segment was already pushing its limits length-wise, so I had to rely on small, deliberate choices in the prose to make that contrast land. It’s amazing to see it worked!

And yeah… that scene sure didn’t do any favors for Victoria’s “FUCK VICTORIA” reputation, haha.

 

"I also absolutely loved the gaping contrast between Annabel's structured world and Naomi's clusterfuck of a life as illustrated throughout the first half of the segment. Even at the beginning, when Annabel is alone, she's so organized that she took the stairs to her apartment to make up for not being able to fit her workout into her busy schedule. Her suffering screamed efficiency every literal step of the way!"

Yes! That contrast really was the engine driving so much of the tension and reflection in this part. Taking two people who are complete opposites and just letting them exist in the same space naturally generates friction… and growth. I loved opening with the stair crawl for that exact reason. Every scene should bleed the theme, and having Annabel take the stairs instead of the elevator immediately set her apart from Naomi in how they live and think.

 

"Given who Annie is, I can't blame her for finally hitting her breaking point with the contents of the bag and falling into the same kind of rant Naomi always shut herself off from. But she realized what she had done after the fact, and it really hurt her to be like all those other authority figures who just endlessly criticized Naomi but never once made an effort to help her. It was gratifying to see Annabel recognize this, as I feel as though all the others had already dismissed Naomi by the time they were done ranting and lecturing. That self-awareness was so great to see in her."

What did you think of that whole sequence with Annabel taking the contents out of the bag? One of the most ‘traumatic experiences’ Annabel had ever gone through… it made me laugh while writing it just because of how much of her unraveling you could feel in that moment. But yes, it was all meant to lead up to her finally snapping, to show how easily she fell into the same patterns Naomi’s always endured. I wanted that realization afterward (the self-awareness) to really feel earned.

 

"Thinking about the larger story, I honestly don't think the Annie we saw in the earlier chapters would have been capable of anything close to the level of understanding she displayed up to that point, let alone after it. I believe she has Trevor to thank for this, that lesson on empathy teaching her that people doing things to upset her have their own problems, troubling issues driving their behavior that Annie had never considered before. Sure, Naomi wasn't a bully like the ones she thought of when everything clicked for Annie, but the same logic applies here."

That’s such great insight, and I’m thrilled it came across! I’ve been trying to make sure every major character evolves through their interactions, and Annabel’s definitely been changed by her time with Trevor. He forced her to see the humanity beneath behavior she’d once written off. And now, with Naomi, she’s being pushed even further… into something almost maternal. Watching how that dynamic reshapes both of them is going to be really fun to write. (and read I hope!)

 

"But the highlight of this whole segment was Annie discovering Naomi's artistic talents. There was so much wrapped into that moment, but it was seeing the reality of who Naomi is, why she acts so aloof and disconnected from the world around her, that hit me the hardest. Because even though Annie cared about Naomi before that moment, as shown through her restraint, Annie still thought less of her in a way. She still thought of Naomi as lazy, kind of dumb, and needlessly defiant, but seeing what Naomi could do with a pencil, seeing her full talent hidden within the chaos of her bookbag, completely changed Annie's perception of her. Annie recognized that a lot of Naomi's issue was that Naomi had so much talent, so much latent ability, that she didn't know what to do with it. That Naomi was bored with the world around her, so intensely focused on her art, even if no one was supposed to see it, even if it was only for her."

So happy to hear you call that the highlight! It really is the emotional centerpiece of the segment (even if the SMUT has its own “centerpiece,” later on in the segment haha). That scene went through so many rewrites just to get the rhythm of realization right… the shift from judgment to recognition to genuine understanding. Seeing both of them finally see each other for who they really are was incredibly rewarding to craft.

 

"The warmth that followed for the rest of that half-segment was so touching, so rewarding! Getting to see Naomi finally crawl out of her shell and just be happy, comfortable with herself was one of the more heartwarming moments of the story so far. And the way they both laughed when she said "I dunno" after Annie had been so frustrated and even scolded her over that earlier in the workshop was one of those absolutely perfect full-circle moments that give moments like this so much impact, even if the circle itself all took place within the same segment (actually, that left me even more impressed with it)."

So glad that “I dunno” moment landed! That was one of those small, satisfying callbacks that tie everything together emotionally. I had so much fun sneaking that in.

 

"It also makes sense to me that Annie's parents didn't approve of that lifestyle and seemingly tried to pull her out of that "phase" with structure and rules. It was still sad to read, though. It's nowhere near what Naomi is going through (at least as far as we know so far), but it does make me wonder how differently Annie might have turned out if her parents hadn't discouraged her from expressing herself, from being herself."

Actually, it wasn’t that Annie’s parents disapproved… she admitted she was simply too shy, too timid to go full goth when she was Naomi’s age.

 

"I also can't say enough how much I loved seeing Naomi relate to Annie's feelings just as much as Annie was relating to hers. Annabel showed some vulnerability here too, talking about how she felt like she couldn't be herself because she was mocked at school for wearing that cloak. Naomi has been through so much worse than that, but she didn't judge Annie through that lens; she understood the pain of ridicule in a broader sense and empathized."

Yes! I really loved writing that part. Relationships feel more authentic when empathy flows both ways, and this was my chance to show Naomi returning that care. Up to this point in the segment, Annabel’s been the one drawing Naomi out, but this was Naomi’s turn to reach back… to comfort, to understand. It made the whole exchange feel complete.

 

"Also, of course Annie has a fuckton of goth stuff she just never wears! That's so very her, purchasing things that make her happy, even knowing she could never wear them, giving them their proper place in her closet. She never half-asses anything!"

Yesss! This was such a fun little detail to include! It’s so Annabel to collect all that high-quality goth gear and keep it perfectly organized even if no one ever sees it. Having Naomi stumble upon it and see that hidden side of her was a treat to write. I love how perspective can shift meaning and really make a moment feel alive!

 

"Having this continue to play out in the story's background as you keep moving things forward with the plot and characters in the foreground has been executed so masterfully so far. Those little mentions in passing since Helena first brought the case up in trash town have been sprinkled in just enough to make sure we don't forget that it's happening in real time."

Thank you so much for saying that! The GRSP case is obviously a huge pillar of the larger story, but I’ve intentionally kept it simmering in the background until the right moments to really dig in. I wanted it to feel like a living thread quietly influencing everything else… so I’m thrilled to hear it feels balanced and natural rather than forgotten or forced.

 

"And you didn't disappoint! Naomi's casual stroll through tiny government housing was phenomenal. Setting the tone with Craig was the perfect way to start it, too. We even got some ... worldbuilding in there, learning that giants routinely get too close to the tiny housing and fuck up their world without knowing or caring. The deliveries had to be particularly devastating, but hearing that a surveyor would get so close just for convenience sake was hot to read, and it didn't even actually happen in this scene!"

Ahh, I love hearing this! I’ll admit I’m way more comfortable writing tiny people size-play rather than straight up giantess stuff, so this scene went through a lot of revisions. I wanted to capture that tension and danger without losing the grounded tone.

And the casual, incidental cruelty of scale, like the surveyor getting too close and causing chaos was something I didn’t notice as being overly erotic. I hadn’t fully thought of it as hot before you put it that way, but now that you’ve said it, I completely see it. That detached indifference, that ability to devastate entire lives just by existing… it’s something I’m absolutely going to lean into when I write one of these scenes again.

 

"But man, Craig's story really backed up what the non-working towers had already implied: that GRSP living was already hell. The boarded up windows and "penny-colored water" (ew!) are clear signs that the program is severely underfunded. And even though the story about his girlfriend taking everything after the "breakup" fits what we heard before, that didn't make it any less devastating to read. I mean, I suppose you can't blame the girlfriend for not wanting to date him anymore, but to see how the system so thoroughly skewed in her favor just because she was a giant was painful!"

Yeah, I was really glad to finally step into the perspective of a tiny outside the main cast… someone who isn’t Trevor or Rebecca, who both have very specific situations. Getting to explore what daily life looks like for the average smallfolk gave the world a bit more weight. And there’s more of that coming; I have a whole storyline coming that dives deeper into the GRSP system itself, FROM the tiny perspective. Should be fun!

 

"Because, fuck, the way Naomi did him in was nothing short of incredible. The tremors, the way Craig gradually went from being annoyed to becoming terrified, his desperation to get out of the building, to live despite how horrible his existence had become: All of it was perfect! And the way he described Naomi and her trek to his apartment was so fucking hot! The boot just standing where his apartment building had once been, not moving because it didn't have to ... Holy fuck, man! Naomi felt fucking massive! I loved every second of this!"

I’ve got to admit… I thought about you a little while writing that scene! You’d been asking for some proper crushing with footwear, and, well… here it is. Big boots and everything. I’m so happy it landed the way it did for you!

 

"Have I mentioned that I liked it yet?"

Haha, I love hearing that! I had so much fun writing it. And yes, there are definitely going to be more giantess-style moments like this coming soon… maybe even very soon :o

 

"Annie sitting back, arms behind her back, and merely taking out the few escapees to evade Naomi's surprising efficient decimation of the tiny world below her ankles (great fucking line, by the way!), was oddly cute, too. Annie admiring how thorough Naomi was fits her personality perfectly, too. And the way Naomi looked over to Annie for permission, for encouragement, built off that last scene so well! Not to mention how all of that bonding and lightheartedness fed into such delicious evilness in a tone clash that beautifully enhanced the latter scene rather than distracted from it."

That’s exactly what I was hoping would come through. I really wanted all that earlier character work to make the destruction feel richer… almost justified in its weird emotional logic. I wasn’t sure if it would land or just clash tonally, especially because we seeing things differently as a fetish audience, but I trusted my gut. So hearing that it worked for you means a ton.

 

"But Annie doesn't know how to help her. She's offered refuge, now love and a kindred spirit in which Naomi can confide her love of all things goth, and even a mentor to guide Naomi in the ways of training and destroying tinies. But Annie can't help her deal with the mental trauma that has so deeply scarred Naomi, let alone stop the still ongoing source of that trauma. The powerlessness of Annie in the final few sentences of this segment made my heart ache!"

Beautifully said. Even though Naomi’s in a safer place now, that doesn’t mean the ghosts stop following her. Sometimes no amount of comfort (or even love) can completely protect someone from what they’ve lived through. That’s the space I really want to explore between them going forward.

 

"Awesome segment! The balance between emotional depth and smut was seriously impressive!"

Thank you, man! You always manage to pinpoint exactly what’s working beneath the surface. And I can tell you’re just as happy as I am to finally have Annie and Naomi back in the story more prominently :D

Reviewer: AdamX Signed [Report This]
Date: October 04 2025 10:44 PM Title: PART 34

I have to say it's truly heartwarming to see such a tender bonding moment end with the bonding parties gleeful desire to go murder an entire horde of defenseless people. Hallmark really doesn't offer that kind of resolution.

At first I really was almost lowkey wanting to see Anna switch her allegiance to following Naomi, the raw unbridle teen foot funk breaking down tinies the way few if any had before her. The way she molded the two wild soon to be stains into a dedicated hardworking team really shows that while her methods are not polished she has more than enough skill to set the breaking world on fire.

I'm glad we got to not only see them bond but Anna to help Naomi come out of her shell and blossom into the lovely goth death machine we all knew she could be. The school work should come easier with Anna's guiding hand but unlocking her true self is something she would never learn in the classroom.

Her drawing skills also seem like a way to harness her abilities and creativity, if she can so eloquently draw beautiful Victorian Gothic seascapes and houses than I only imagine what kind of horrors her pencil could dream up for a workshop tiny or just one unfortunate enough to cross her path.

We're really getting a whole new Naomi here, Becca would be proud if not for the impending mass murder they were about to unless.

...

Poor Craig really almost had it all didn't he but alas it was not meant to be.

All these heartfelt moments between Anna and Naomi punctuated by the mass murder of thousands, at first I figured Domica trying to dismantle the org was for her own selfish reasons and whilst still true they really are fairly inept at their jobs.

I can only imagine the lawsuits that might come out of this one unless they all signed away the right to sue. Building them outside with minimal protection seems rather careless instead of housing them somewhere in a secure location that people like Naomi or Anna can't get to let alone the stray animal etc.

The more Anna brings out of Naomi however does lead me to believe that if her and Amber could eventually come to terms that they'd have one more ally against Helena when/if the time came for Domica to make a move on The Kingdom.

---- 

Well fuck I guess dominant Becca didn't really make one full chapter.

Shame she was whipping those young ladies into well formed athletes worthy of Team USA before that near death experience. But Amber Giveth and it seems now Amber has Taketh Away.

I understand her being possessive over Amber and you letting the cat out of the bag about her noticing Scarlett's love for her but seeing Amber back in pre-GF mode with Becca certainly is a sight but then again she is Domica's daughter.

Scarlett's alone time with Becca was quite wonderful and maybe in a world where she'd found her first instead of the all encompassing force that is Amber things might have worked out for them.

Though I get Amber's newfound rage over things given the pressure she is always under and her brattiness always seems to bubble to the top. It's just finding its way towards people she cares about versus the usual unfortunate tiny who comes across her any given day.

I feel sorry for the girls who messed with Scarlett however given that if Amber remembers them and runs into them again it could be very bad for them. They messed with HER property and tiny lover thus certainly have marked themselves on her shitlist for life.

Being stuffed in her ass notwithstanding I -still- foresee the three of them somehow ending up together in some sort of poly relationship, Amber as the hot headed force of nature and Scarlett as the level headed loving soul who both fiercely protect and look after Becca.

---

I must say the entire Kelly arc was wonderful especially Donnica's response to finally recognizing her, just wonderful dismissive cruelty by a woman of her stature.

The Lovers Delight was also a stroke of cruelty I am shocked nobody has ever consider creating before in all the years I've been reading giantess related content.

I picked up on the line about -unlearning- things during the end of the dinner which leads me to believe the Sisterhood does -not- want Trevor around for long now that Donnica has joined them. It definitely seems like a dangerous game they are playing if they attempt to get rid of him on their own or worse yet force her hand...or foot.

I honestly have a weird feeling somebody at that table tonight will end up shrunken in the final wave if/when it comes. It would not surprise me honestly if Donnica was the only one left standing after the dust settled. She's a force unlike any other and having her merely be a -part- of The Sisterhood feels a little beneath her in the grand scheme of things.

And I'd also be remiss if I didn't mention loving Donnica torturing Kelly at her new job, truly wonderful.

I just hope The Sisterhood is ready for what they've gotten themselves into, The Kingdom too by proxy.

---

1. As for Anna and Naomi I am happy for them both given how much crap both ended up taking during the earlier chapters. Granted their murdering people but at least their finally finding happiness in their lives whilst doing so...half the battle and all that jazz.

2. Who doesn't love Goth Girls?

3. Craig's section was just fine as it really set forth the truly bleak and dejected world the tinies have to live in. The fact they are actively hunted for food or squished for fun just adding to that misery.

4. The GRSP REALLY needs an overhaul especially if the final wave is coming as is predicted by The Sisterhood.

5. I still fully believe Scarlett is welcomed into the relationship before the story is over, there just feels too much there for those three to not end up together somehow.

6. I think Amber eventually calms down before Becca is fully lost to her slave role and losses her autonomy as a mother/big sister type guiding light to both the girls.

7. As I said Kelly's arc was incredible.

8. Yes, The Sisterhood was clearly mapped out and laid mostly bare for the reader to understand but maybe not -everything- for Donnica to -just- yet.

9. I really wanted...but knew it couldn't happen but to see Donnica kick her shoes off and prop those dogs right up on the table. I appreciate The Sisterhood and the new ladies played their parts perfectly but I still have the gut feeling Donnica will be the last one standing if/when the final wave hits.

A true rude awakening for the -new goddesses-.

Author's Response:

"I have to say it's truly heartwarming to see such a tender bonding moment end with the bonding parties gleeful desire to go murder an entire horde of defenseless people. Hallmark really doesn't offer that kind of resolution."

A real feel-good moment, right? Nothing like a bit of death and destruction to bring people together!

 

"At first I really was almost lowkey wanting to see Anna switch her allegiance to following Naomi, the raw unbridle teen foot funk breaking down tinies the way few if any had before her. The way she molded the two wild soon to be stains into a dedicated hardworking team really shows that while her methods are not polished she has more than enough skill to set the breaking world on fire."

Great catch! Naomi really does have a natural talent for breaking tinies… maybe that’s what caught Annabel’s eye about her in the first place. She’s rough around the edges, but there’s definitely some real skill there. I can’t wait to see how the “business” partnership between her and Annabel grows and what chaos they unleash together.

 

"We're really getting a whole new Naomi here, Becca would be proud if not for the impending mass murder they were about to unless."

Yeah, Naomi’s been so much fun to develop lately… from the training and failed tests scenes with Annabel to her going absolutely wild on the tiny people compound. But yeah… Rebecca might not be as proud of the direction the goth girl is headed haha… though it definitely makes for a hell of a story!

 

"Poor Craig really almost had it all didn't he but alas it was not meant to be."

It just wasn’t meant to be for poor tiny Craig.

 

"All these heartfelt moments between Anna and Naomi punctuated by the mass murder of thousands, at first I figured Domica trying to dismantle the org was for her own selfish reasons and whilst still true they really are fairly inept at their jobs."

Maybe Annabel was right… Donnica might actually be doing everyone a favor by dismantling the GRSP! Then again, Anna and Naomi probably could’ve found a slightly less murderous way to expose just how bad it is LOL

 

"The more Anna brings out of Naomi however does lead me to believe that if her and Amber could eventually come to terms that they'd have one more ally against Helena when/if the time came for Domica to make a move on The Kingdom."

I love this line of thinking! Amber getting pulled into whatever Annabel and Naomi are building would be wild, and as we know from the last chapter, Annabel is already starting to dig into Amber’s life. Who knows, maybe they’ll all end up on the same side of things at some point.

Ya never know…

 

"Shame she was whipping those young ladies into well formed athletes worthy of Team USA before that near death experience. But Amber Giveth and it seems now Amber has Taketh Away."

Yeah, deep down, Amber is still that possessive, hot-tempered girl we saw at the very start… she just can’t fully bury it, no matter how much she’s grown. But honestly, everything that could go wrong for her in that scene did go wrong: denied in bed, struggling with the drill, Rebecca’s near-death, then walking in on Scarlett holding her naked. Sometimes it all just explodes at once.

 

"I understand her being possessive over Amber and you letting the cat out of the bag about her noticing Scarlett's love for her but seeing Amber back in pre-GF mode with Becca certainly is a sight but then again she is Domica's daughter."

That’s such a good point… she really is Donnica’s kid, after all! It’ll be interesting to see how the possessiveness and fire carry forward, especially now that she’s been pushed over the edge. Can she walk it back? Does she even want to?

 

"Scarlett's alone time with Becca was quite wonderful and maybe in a world where she'd found her first instead of the all encompassing force that is Amber things might have worked out for them."

Yeah, I actually think Scarlett and Rebecca might have more in common than Rebecca and Amber do, and something is definitely blossoming there. In another world, who knows what could have happened between them…

…but also, maybe it’s not out of reach in this world either….

 

"Though I get Amber's newfound rage over things given the pressure she is always under and her brattiness always seems to bubble to the top. It's just finding its way towards people she cares about versus the usual unfortunate tiny who comes across her any given day."

You nailed it, sometimes we take out our anger on the people closest to us, and Amber definitely unloads all of that on Scarlett and Rebecca here. That pressure cooker finally burst.

 

"Being stuffed in her ass notwithstanding I -still- foresee the three of them somehow ending up together in some sort of poly relationship, Amber as the hot headed force of nature and Scarlett as the level headed loving soul who both fiercely protect and look after Becca."

Very interesting prediction! Amber made her stance on sharing her tiny girlfriend pretty clear in this moment, but all of that was said in the heat of anger. You never know what could happen when these three are all together again…

 

"I must say the entire Kelly arc was wonderful especially Donnica's response to finally recognizing her, just wonderful dismissive cruelty by a woman of her stature."

Thank you! I really wanted to bring that “table level” perspective, where the horror and eroticism blend right at the ground level. That sense of scale (and the sheer, offhanded cruelty) really comes alive that way. It’s something I tried to do with Craig back in S1 as well. Makes for longer, more immersive scenes, but I think it works especially well in a fetish context.

 

"The Lovers Delight was also a stroke of cruelty I am shocked nobody has ever consider creating before in all the years I've been reading giantess related content."

Appreciate it! I had a blast coming up with that one.

 

"I picked up on the line about -unlearning- things during the end of the dinner which leads me to believe the Sisterhood does -not- want Trevor around for long now that Donnica has joined them. It definitely seems like a dangerous game they are playing if they attempt to get rid of him on their own or worse yet force her hand...or foot."

Yeah, that line was absolutely aimed at Trevor! The Sisterhood would much rather he wasn’t in the picture now that Donnica has shown interested, but making a move against him would definitely put them at odds with her. And yet, Donnica seemed pretty taken by the Sisterhood too… Watching her navigate those loyalties, between her heart and her desire for power, will be very interesting.

 

"I honestly have a weird feeling somebody at that table tonight will end up shrunken in the final wave if/when it comes. It would not surprise me honestly if Donnica was the only one left standing after the dust settled. She's a force unlike any other and having her merely be a -part- of The Sisterhood feels a little beneath her in the grand scheme of things."

Donnica being the only one left standing does feel oddly fitting… she really does embody that “one true goddess” energy. If there’s anyone who could outlast everyone else, it’s her.

 

"I just hope The Sisterhood is ready for what they've gotten themselves into, The Kingdom too by proxy."

Oh, they have no idea! The Sisterhood is trying to claim Donnica, but Donnica has her own ideas about claiming power for herself. And with The Kingdom still in play, everything’s about to get a lot more chaotic. Things are definitely heating up from here!

 

"1. As for Anna and Naomi I am happy for them both given how much crap both ended up taking during the earlier chapters. Granted their murdering people but at least their finally finding happiness in their lives whilst doing so...half the battle and all that jazz."

Yeah, those two just click together so naturally! For all the chaos and horror they leave in their wake, I genuinely love writing them finally finding something like happiness… even if it’s drenched in blood.

 

"3. Craig's section was just fine as it really set forth the truly bleak and dejected world the tinies have to live in. The fact they are actively hunted for food or squished for fun just adding to that misery."

Exactly! Showing that ground-level, hopeless perspective is crucial for capturing just how marginalized tinies really are in this world… and, let’s be honest, it definitely amps up the hotness of the scene too ;)

 

"4. The GRSP REALLY needs an overhaul especially if the final wave is coming as is predicted by The Sisterhood."

It really does, doesn’t it?

 

"6. I think Amber eventually calms down before Becca is fully lost to her slave role and losses her autonomy as a mother/big sister type guiding light to both the girls."

Yeah, Amber isn’t just one thing or the other… she’s this deeply damaged teenager, wielding godlike power over someone she desperately loves, and who also is incredibly tiny. Watching her struggle to balance those instincts is going to be a wild ride.

 

"8. Yes, The Sisterhood was clearly mapped out and laid mostly bare for the reader to understand but maybe not -everything- for Donnica to -just- yet."

Glad it came across that way! There’s still a lot the reader can pick up on, but Donnica’s still left with plenty of questions and uncertainties. Her descent into the Sisterhood is only just beginning…

 

"9. I really wanted...but knew it couldn't happen but to see Donnica kick her shoes off and prop those dogs right up on the table. I appreciate The Sisterhood and the new ladies played their parts perfectly but I still have the gut feeling Donnica will be the last one standing if/when the final wave hits."

Haha, what a scene that would’ve been! I think Donnica was too fascinated by the Sisterhood to do something quite that brazen… this time. But don’t worry, you haven’t seen the last of Donnica’s feet ;)

Thanks as always for the review! I always love reading your thoughts.

Reviewer: J - Vader Signed [Report This]
Date: September 30 2025 9:09 PM Title: PART 34

This was fire and the smut content was amazing especially the vore with Donnica which was extremely hot

cant wait to see more with Trevor and others 

Author's Response:

That vore scene has been getting a ton of positive feedback... so glad it landed the way I hoped! Already got plans brewing for the next one ;)

Reviewer: PlanetMight88 Signed [Report This]
Date: September 29 2025 10:49 PM Title: PART 34

Looks like Donnica and the Sisterhood will have issues. I wonder how many people will shrink in the Final wave. 

Given how many Tinies we seen killed in the story and poor conditions they live in, it won’t surprise me if most or all are gone in a few years…

Author's Response:

Yeah, the tinies definitely live in rough conditions... at least outside The Kingdom.

That point about them all disappearing is really interesting though. Makes me wonder what their fate is going to be.

Reviewer: GiantessLover21 Signed [Report This]
Date: September 28 2025 7:02 PM Title: PART 33

What an incredible chapter, and this final segment is the perfect culmination! It’s time for the dinner between Celine and Helena, teased in the second segment, and it delivers in every way.

It starts with a Cinderella-like setup, but instead of a fairy godmother, we have five tiny women supervised by Lorelei, tasked with making Celine absolutely flawless for the dinner. She has to be pristine from head to toe, and they ensure no detail is overlooked, Lorelei won’t let anything slip. When Lorelei is satisfied with the result, Celine is placed inside the globe.

This part is so much fun; I love the military vibe, with Lorelei’s cold, calm demeanor, a mix of an army general and a surgeon. Another small detail I enjoy is Celine recognizing Lorelei’s origin just by her accent, showcasing her vast knowledge. This preparation scene reminds me of Rebecca’s for the princess pageant, with Lorelei acting like Scarlett but without our favorite redhead’s warmth.

The attention to detail is phenomenal, you think of everything, helping us visualize it all, from the poor Celine being treated like a living doll to the five tiny women working under Lorelei’s watchful eye, to the dress and jewelry. It’s absolutely perfect. But a dinner needs two people, and now it’s time for Helena. While we don’t see her preparation, her arrival is breathtaking, you nailed the royal vibe.

Before the guest of honor appears, we get an intriguing and chilling description of the dinner bowl. Though we don’t yet know its contents, we can guess it’s tiny people, offered as sacrifice for the perfect body of Helena. And then she arrives. Everything around Helena feels so staged, so artificial she’s playing the role she was born to embody: a queen.

Even at dinner, she isn’t hungry; she eats the tiny people because protocol demands it, not out of desire. The dinner scene is fascinating because every Vore moment in this story is unique. If Victoria’s was about revenge and Annie’s was to prove something to Trevor, this one is cold and detached, it’s just food to Helena, a meal she doesn’t even consider. I love how you kept it minimal, giving just enough detail for us to savor it. But this dinner isn’t about the “food”; it’s about Helena’s guest, the perfect Celine.

No matter how hard Helena tries, she can control Celine’s body but not her soul, Celine is far from broken, and Helena can’t accept that. She tries to dominate her by demanding a dance performance, but Celine’s perfection backfires on her. Celine’s flawless dance stirs Helena’s insecurities, reminding her that Celine has always been better. Helena, meant to be a goddess, is reduced to a mere spectator. I loved the moment where Helena eats the tiny people with her wine, lacking any class, it’s a rare glimpse of her natural self, unpolished by the act she puts on for everyone.

This crack in Helena’s armor doesn’t go unnoticed by Celine. Though she planned to play the good girl tonight, she can’t resist exploiting the opportunity to strike at Helena. I absolutely loved this part, Celine targets Helena’s vulnerabilities with precision, and Helena struggles to maintain her facade but fails.

You can feel the shift in their dynamic: Helena, introduced as an unstoppable goddess, becomes the insecure little girl again, while Celine emerges as the stronger one. It reminds me of the early chapters’ dynamic between Amber and Rebecca, where Rebecca’s experience as an adult gave her an edge despite the size difference. Here, though, both are grown women, and Helena is outwardly successful, but deep down, she’s still a lonely, scared little girl Who don’t know what love is (maybe she should spend time with Annie listening to Foreigner!).

 Celine knows this and expertly targets Helena’s imposter syndrome. Despite her outward success, Helena feels inadequate, and Celine exposes that. At this moment, Celine wins. Helena isn’t the goddess, she pretends to be, she’s the sad, lonely girl, who need to be shielded by Celine’s strength like before. Finally, Helena drops the act, revealing her true self, and I loved that so much. I really like Helena and hope she’ll find happiness in the future, stop pretending, and discover real love.

Her confession, “That’s because I’m all alone…” the trembling colossus whimpered, almost inaudibly, broke my heart.

Celine’s reaction reminds me of Rebecca’s refusal to deliver the final blow to Amber. Instead of destroying Helena, Celine sees the young, vulnerable friend she once knew and shows kindness. But Helena, true to form, puts her mask back on, too late, though, because Celine has already won. In true Helena fashion, she resorts to what she can control: the weak, the tiny people meant to be eaten. I loved how the poor lady becomes collateral damage in the tension between these two women,it’s perfect, and that moment is hot, lol.

The dinner ends with Helena ordering one of her girls to take Celine to her bedroom for punishment, showing her desperation to use her only leverage, her size, since she can’t win with words she have to rely on her size. With a broken glass of wine, this amazing chapter concludes.

What a phenomenal chapter, and this final segment completes it perfectly. I love the parallels with Amber and Rebecca, and as I said in my review of the second segment, Amber and Helena are so similar. I hope Amber chooses Rebecca over Donnica and doesn’t end up like Helena, forced to live a lie her whole life. Celine remains an incredible character, I’d love for her to meet Rebecca, though I’m not sure if it’d end in a bloodbath or a fast friendship. Finally, I adore Helena in this chapter. Seeing her true face behind the mask and armor she always wears is amazing.

Author's Response:

"It starts with a Cinderella-like setup, but instead of a fairy godmother, we have five tiny women supervised by Lorelei, tasked with making Celine absolutely flawless for the dinner. She has to be pristine from head to toe, and they ensure no detail is overlooked, Lorelei won’t let anything slip. When Lorelei is satisfied with the result, Celine is placed inside the globe."

I absolutely love you calling it an inverse Cinderella setup! Instead of a fairy godmother and her helpers, it’s five tiny slaves doing the prep… such a great comparison, and it really captures the strange, twisted magic of that scene. It was so much fun to write it that way!

 

"This part is so much fun; I love the military vibe, with Lorelei’s cold, calm demeanor, a mix of an army general and a surgeon. Another small detail I enjoy is Celine recognizing Lorelei’s origin just by her accent, showcasing her vast knowledge. This preparation scene reminds me of Rebecca’s for the princess pageant, with Lorelei acting like Scarlett but without our favorite redhead’s warmth."

I was hoping people would catch that! Celine is so sharp, she picks out exactly where in Germany Lorelei is from just by her English accent… she misses nothing. And I love that you caught the callback to the princess pageant prep with Scarlett and Rebecca, except now it’s this dark, inverted version. Celine isn’t getting dressed up for fun or glory, she’s being made perfect for Helena’s pleasure.

 

"Before the guest of honor appears, we get an intriguing and chilling description of the dinner bowl. Though we don’t yet know its contents, we can guess it’s tiny people, offered as sacrifice for the perfect body of Helena. And then she arrives. Everything around Helena feels so staged, so artificial she’s playing the role she was born to embody: a queen."

Yeah, preparing Celine was just one side of the setup… the other was Helena’s arrival, her grand entrance that shifts the whole mood. It wouldn’t have landed right if I hadn’t focused on both sides of the scene. From your description, I think the contrast between Celine’s meticulous prep and Helena’s effortless dominance worked just the way I wanted.

 

"Even at dinner, she isn’t hungry; she eats the tiny people because protocol demands it, not out of desire. The dinner scene is fascinating because every Vore moment in this story is unique. If Victoria’s was about revenge and Annie’s was to prove something to Trevor, this one is cold and detached, it’s just food to Helena, a meal she doesn’t even consider. I love how you kept it minimal, giving just enough detail for us to savor it. But this dinner isn’t about the “food”; it’s about Helena’s guest, the perfect Celine."

I honestly hadn’t noticed that pattern until you pointed it out, but you’re absolutely right! Every vore scene so far has had its own distinct flavor… revenge for Victoria, a lashing out for Annie, and here with Helena it’s just cold, clinical ritual. She doesn’t even care about the act; it’s just something she’s expected to do. I’m glad you appreciated the more restrained detail, letting the atmosphere and the focus on Celine take center stage. Vore isn’t usually my main thing, but I’m having more and more fun with it as the story goes on, especially when it lets me dig into these shifting dynamics. Thanks so much for noticing!

 

"No matter how hard Helena tries, she can control Celine’s body but not her soul, Celine is far from broken, and Helena can’t accept that. She tries to dominate her by demanding a dance performance, but Celine’s perfection backfires on her. Celine’s flawless dance stirs Helena’s insecurities, reminding her that Celine has always been better. Helena, meant to be a goddess, is reduced to a mere spectator. I loved the moment where Helena eats the tiny people with her wine, lacking any class, it’s a rare glimpse of her natural self, unpolished by the act she puts on for everyone."

That’s exactly what I wanted! I needed a moment where Celine, forced to submit, could actually flip the power dynamic. The idea of her dancing and entrancing Helena (making the goddess lose her composure) was the perfect pivot. And Helena eating the tiny “just to chew on something” really drove home how unpolished and rattled she became. I’m so glad that resonated.

 

"You can feel the shift in their dynamic: Helena, introduced as an unstoppable goddess, becomes the insecure little girl again, while Celine emerges as the stronger one. It reminds me of the early chapters’ dynamic between Amber and Rebecca, where Rebecca’s experience as an adult gave her an edge despite the size difference. Here, though, both are grown women, and Helena is outwardly successful, but deep down, she’s still a lonely, scared little girl Who don’t know what love is (maybe she should spend time with Annie listening to Foreigner!)."

That Foreigner line killed me haha! You’re right… maybe she should listen to ‘I Want To Know What Love is’! And you’re dead-on with the comparison to Amber and Rebecca’s early dynamic. There’s that same subversion of who really holds the power, except Celine and Helena have a much longer, sharper history as rivals and, maybe, something more. The “hate” here is deeply lived-in and complicated. And as you said, there’s that sense Helena still doesn’t know what love really is, for all her power.

 

"Celine knows this and expertly targets Helena’s imposter syndrome. Despite her outward success, Helena feels inadequate, and Celine exposes that. At this moment, Celine wins. Helena isn’t the goddess, she pretends to be, she’s the sad, lonely girl, who need to be shielded by Celine’s strength like before. Finally, Helena drops the act, revealing her true self, and I loved that so much. I really like Helena and hope she’ll find happiness in the future, stop pretending, and discover real love. Her confession, “That’s because I’m all alone…” the trembling colossus whimpered, almost inaudibly, broke my heart."

That was such a big moment for Helena… seeing her let the mask drop, even just for a second. Up to now she’s mostly been this force of nature, but here you see the heartbreak, the isolation underneath. I really wanted to write her as someone deeply vulnerable, and I’m glad it came through so strongly.

 

"Celine’s reaction reminds me of Rebecca’s refusal to deliver the final blow to Amber. Instead of destroying Helena, Celine sees the young, vulnerable friend she once knew and shows kindness. But Helena, true to form, puts her mask back on, too late, though, because Celine has already won. In true Helena fashion, she resorts to what she can control: the weak, the tiny people meant to be eaten. I loved how the poor lady becomes collateral damage in the tension between these two women,it’s perfect, and that moment is hot, lol."

I love that you remember those earlier moments… like Rebecca refusing to twist the knife into Amber when she could have. It’s different here, but the principle is the same: Celine sees through the hate and dominance, finds the scared girl she used to care about, and offers real empathy. But Helena can’t accept it, not for long anyway, so she lashes out at the only thing she can still control. Her eating the tiny at the end was her desperate attempt to reassert her power. I’m glad it came off as both brutal and hot!

 

"What a phenomenal chapter, and this final segment completes it perfectly. I love the parallels with Amber and Rebecca, and as I said in my review of the second segment, Amber and Helena are so similar. I hope Amber chooses Rebecca over Donnica and doesn’t end up like Helena, forced to live a lie her whole life. Celine remains an incredible character, I’d love for her to meet Rebecca, though I’m not sure if it’d end in a bloodbath or a fast friendship. Finally, I adore Helena in this chapter. Seeing her true face behind the mask and armor she always wears is amazing."

Celine and Rebecca meeting would be incredible… and it could go any way! They’d probably get along until Celine started teasing Trevor, and then all bets are off.

I’m also thrilled with how Helena came out in this chapter. So thanks for pointing that out! She started monstrous in the second segment, but by the end of the third we saw something vulnerable, complicated, almost relatable. It’s a fetish piece at the end of the day, so cruelty rules, but it’s those flashes of something real underneath that make it all so much more satisfying to write.

Thanks so much for the review, as always… I loved this one!

Reviewer: It Was Me Signed [Report This]
Date: September 27 2025 7:31 AM Title: PART 33

Oh fuck.

Even before I read those last few lines of S3, from the moment Annabel made it back to her desk, I was worried about Rebecca. With that line about "an outside force," any doubt I had that Annie and Rebecca's paths were destined to cross melted away.

I now have zero doubt that Annie is going to find out about Rebecca and very little doubt that Annie is going to take Rebecca. Annabel is just too thorough, too competent not to figure this out, and once she does, so many interesting possibilities open up.

With so many new characters entering the fold, including several tinies, is a shock death coming? Or might Annabel find a reason to take Rebecca back to her workshop? And maybe most importantly, how would Naomi feel about all this if she saw Rebecca in one of those cages (because I have no doubt that she'd recognize Rebecca right away)?

I won't dig too deep into speculation about how this arc merger might go down (although I do have my theories and suspicions), but the possibility of the Amber/Rebecca and Annie/Naomi arcs merging is as exciting as it is nerve-wracking .

I'm not surprised that Annabel has taken it upon herself to solve Donnica's "Amber problem," though. I've always felt that Annie wasn't just some devoted stooge but rather someone willing to do whatever it takes to make her master (or Trevor, for that matter) happy, even if they didn't ask her to do it. Even if they didn't want her to do it. Even if they told her not to do it. If she thinks it's in the best interest of the two most important people in her life (although I'm guessing that Naomi is worming her way up that list as well, especially if she's willing to let Naomi get away with killing expendables like that), she's going to do it. She's going to become whatever it is that they need her to be.

And we saw that in the middle of the segment. Annabel started off professional, something Donnica took as her demanding forgiveness, when really I think she was just respecting what Donnica wanted from her. Then, after being invited to the family dinner (which should be fun!), she slipped into her routine of worshipping her goddess-mother. She allowed herself to ask Donnica what was wrong, something I'm sure she noticed as soon as she set foot into Donnica's office.

And then, when Donnica needed her to, Annabel took charge of the conversation.

Annie calling her Donnica instead of goddss-mother or Ms. Cernovich was her talking to Donnica as an equal, as her true self just wanting to help someone she cares about. I thought that was such a cool moment. We hadn't seen that out of Annie before, and it fit my theory that Annabel would do whatever is required of her to make Donnica (and, again, I believe this applies to Trevor as well) happy. Their happiness is her happiness. 

Now, unfortunately, she gave Donnica some really, really bad advice. She just can't accept the possibility that Donnica might actually be at fault here, so she assumes that the problem lies with Amber (as we saw at the end of the segment). This is particularly frustrating for two reasons:

1. Donnica was actually starting to figure it out on her own. She at least knew that she fucked up when she argued with Amber about her major and future as a whole in front of the dean and company. That was her getting on the right track for once.

2. Annie knows this is Donnica's fault (knowing and accepting are two separate things, so I don't think I contradicted myself here). She stated in the narrative outright that she knew that Donnica was keeping Amber at arms length (I'm not 100 percent sure that Donnica ever realized this), yet she's still looking to "fix" Amber rather than help Donnica face some hard truths about herself. She truly wants to help her master, but she's too devoted to do what actually needs to be done.

Back to Donnica being on the right track for a moment. She was really having a profound thought; she finally noticed that Amber felt about her the way Donnica felt about her own parents. The cold look, the distance, the rebellious spirit and wanting to take time before (maybe) going to college (I was surprised to hear that Donnica went through the same thing, but it makes sense, given how she was raised).

Donnica tried so hard to escape her parents' legacy, but she couldn't do it. She was too beholden to the lessons they taught her. She understood why Amber wanted to take time after high school, but she felt her dismissing that idea was her passing on a lesson she "learned" (I don't think she actually took that time herself) to save her daughter from making a mistake. The logic makes sense, but the execution makes her exactly like her parents. It actually felt as though Donnica was on the cusp of fully realizing this and maybe salvaging her relationship with Amber.

Then Annie showed up and assured Donnica that everything she was doing with Amber was just fine, that the college tours trip  (that Amber doesn't want to go on) was a good idea. That Donnica was a good mother when, in many ways, she hasn't been.

I love Annie, but this was tough to see her do! I'm now left wondering how far Donnica would have gotten on her own without that misguided reassurance.

Oh, and since we've circled back to Annie, I absolutely loved that she thought of Amber as Donnica's biological daughter. Because, as I think I've said before, the irony of this situation is that, if Donnica just treated Amber the way she treats Annabel, everything would be good between them. Donnica puts too much pressure on herself to guide Amber in the right direction, to protect her, even from herself. With Annabel, she just sees someone who loves her. Someone who has some issues with which Donnica can relate and wants to help her with. Someone that she can trust and confide in, show her true self to, like she does with Trevor (as we saw here, although I still say the way she does it for Annie is different than the way she does it for Trevor).

But yeah, it was really heartwarming to see Donnica open up to Annie like that. When she called Annie "sweetheart" my heart melted a little bit!

Going back to the beginning of the segment, it was interesting to see how Donnica's trip to the Kingdom has affected her. I was delighted to see John Turner again, and it was so lovely meeting his wife! I'm curious if we'll see the end result of Donnica's little imprinting experiment, as well as what she plans to do with the "data" she gathers from it once it (surely) succeeds.

And again, we see the difference between Helena and Donnica here. In S2, Helena reveled in making her former rivals and enemies suffer. But even though it's made clear that Donnica bares a grudge against the Turners, she seemed much more clinical about what she was doing. She wasn't reveling in making them suffer now. That was only a means to an end. She wanted those two to worship her with reverence rather than fear, and while the way they treated her before made the thought of that sweeter, it didn't really seem to draw out the same sense of sadism that it did for Helena.

Of course, there's also the fact that Donnica wants her hated tinies be imprinted, while Helena wants them to remain uninitiated and fully able to suffer her wrath under the guise of ritual.

Then there were her thoughts on the Kingdom and Helena. I love how suspicious she is of Helena, knowing that Helena didn't show Donnica that stuff for her benefit but for Helena's own. Donnica is quite clever (when her emotions haven't gotten the best of her), and it's awesome to see her actively trying to figure out what Helena isn't telling her. This could also be a cool test of the Sisterhood's reach; will they be tipped off that Donnica is calling in favors trying to find out about them (even if she doesn't know that's what she's doing)? Or will Donnica get the inside scoop without them knowing?

Finally, it was great to see Donnica's thought process about Annabel before calling her in. Deep down, she knew Trevor's situation wasn't Annie's fault, and she even assigned a little blame to herself for the argument they had possibly distracting Annie. But mostly, Donnica blamed Penelope, which I think she's right about. There's plenty of blame that could be spread, but ultimately, the actual perpetrator is a great person to blame for their own actions!

But I thought it was really cool that she was hoping that Annie would forgive her rather than telling Annie that she's forgiven. Donnica got to the point where she didn't even want to pretend that any of this was Annie's fault, and she wouldn't have minded if Annie hadn't forgiven her right away. She was holding herself accountable in a way Annie never even considered. I thought that was a really sweet moment from Donnica, and I continue to love when she bubbles to the surface in times like these!

Another great segment here, and it felt so short compared to the first two! Yet it was no less impactful, possibly leading us toward a major plot development and arc merger down the line (or really soon, possibly; the "down the line" is really more me just trying to protect my precious Rebecca!).

Author's Response:

"I now have zero doubt that Annie is going to find out about Rebecca and very little doubt that Annie is going to take Rebecca. Annabel is just too thorough, too competent not to figure this out, and once she does, so many interesting possibilities open up."

I love that this is your take! It means Annabel is coming across exactly how I want her here… intelligent, dangerous, and just a little bit volatile beneath the surface. She’s still sweet Annie, of course, but you can’t really blame her for her more ruthless tendencies when it comes to protecting her goddess-mother. Get ready for a lot more Annabel in the coming chapters!

 

"I'm not surprised that Annabel has taken it upon herself to solve Donnica's "Amber problem," though. I've always felt that Annie wasn't just some devoted stooge but rather someone willing to do whatever it takes to make her master (or Trevor, for that matter) happy, even if they didn't ask her to do it. Even if they didn't want her to do it. Even if they told her not to do it. If she thinks it's in the best interest of the two most important people in her life (although I'm guessing that Naomi is worming her way up that list as well, especially if she's willing to let Naomi get away with killing expendables like that), she's going to do it. She's going to become whatever it is that they need her to be."

You’ve nailed what makes Annabel so compelling for me. I love how you keep picking up on this contradiction in her: she’s both the most fanatical and the most likely to go rogue if she thinks it’ll help her beloveds. She’s definitely not just a yes-woman… she’ll act on her own, sometimes against direct orders, all out of devoted loyalty. And yes, she absolutely would do what’s needed to make Trevor happy, too!

 

"She allowed herself to ask Donnica what was wrong, something I'm sure she noticed as soon as she set foot into Donnica's office."

This was honestly my favorite moment in the segment… Annabel skipping past her own forgiveness because her worry for Donnica overruled everything else. She put herself aside to soothe her goddess-mother, and that selfless focus felt so completely, unmistakably Annabel. I loved writing it.

 

"Now, unfortunately, she gave Donnica some really, really bad advice. She just can't accept the possibility that Donnica might actually be at fault here, so she assumes that the problem lies with Amber (as we saw at the end of the segment). This is particularly frustrating for two reasons:"

Right? I was actually wondering if anyone would catch just how misguided Annabel’s advice was! It feels so heartfelt and comforting in the moment that you could almost mistake it for good advice. But yeah, she’s basically absolving Donnica of all responsibility and telling her to just let things blow over. Still, there’s something so genuine about her attempt to comfort Donnica, even if it’s flawed. Her devotion is real… sometimes it works. (even when it kind of doesn’t!)

 

"Donnica tried so hard to escape her parents' legacy, but she couldn't do it. She was too beholden to the lessons they taught her. She understood why Amber wanted to take time after high school, but she felt her dismissing that idea was her passing on a lesson she "learned" (I don't think she actually took that time herself) to save her daughter from making a mistake. The logic makes sense, but the execution makes her exactly like her parents. It actually felt as though Donnica was on the cusp of fully realizing this and maybe salvaging her relationship with Amber."

Exactly, Donnica never got to take time off (her parents never would have allowed it), but she remembers what it was like to want to rebel, which I’m sure she did in her own small way. She’s drawing from that universal ache, even if she’s not consciously paralleling her childhood with Amber’s.

And honestly, could you even imagine Donnica just taking time off and doing nothing?

 

"Oh, and since we've circled back to Annie, I absolutely loved that she thought of Amber as Donnica's biological daughter. Because, as I think I've said before, the irony of this situation is that, if Donnica just treated Amber the way she treats Annabel, everything would be good between them. Donnica puts too much pressure on herself to guide Amber in the right direction, to protect her, even from herself. With Annabel, she just sees someone who loves her. Someone who has some issues with which Donnica can relate and wants to help her with. Someone that she can trust and confide in, show her true self to, like she does with Trevor (as we saw here, although I still say the way she does it for Annie is different than the way she does it for Trevor)."

I’m so glad you picked up on that! Annabel thinking of Amber as the “biological daughter” was something I planned from the start… just that phrase reveals a ton about how Annabel sees their family. And it’ll only get more pronounced as she gets deeper into Amber’s world.

 

You’re also right: Donnica has an easier time connecting with Annabel, and I’m fascinated to see how that evolving relationship might spill over and affect her dynamic with Amber going forward.

 

"And again, we see the difference between Helena and Donnica here. In S2, Helena reveled in making her former rivals and enemies suffer. But even though it's made clear that Donnica bares a grudge against the Turners, she seemed much more clinical about what she was doing. She wasn't reveling in making them suffer now. That was only a means to an end. She wanted those two to worship her with reverence rather than fear, and while the way they treated her before made the thought of that sweeter, it didn't really seem to draw out the same sense of sadism that it did for Helena."

I love hearing that this comes through! That’s the exact contrast I wanted. Donnica’s not getting off on the suffering… she just sees it as part of the natural order, proof of her divinity, a tool for establishing worship. Helena, meanwhile, actively delights in the pain and humiliation. Having both of these segments in the same chapter was meant to highlight those cross-segment differences. So glad you caught it.

 

"Of course, there's also the fact that Donnica wants her hated tinies be imprinted, while Helena wants them to remain uninitiated and fully able to suffer her wrath under the guise of ritual."

Great catch… I wondered if anyone would spot this!

 

"Finally, it was great to see Donnica's thought process about Annabel before calling her in. Deep down, she knew Trevor's situation wasn't Annie's fault, and she even assigned a little blame to herself for the argument they had possibly distracting Annie. But mostly, Donnica blamed Penelope, which I think she's right about. There's plenty of blame that could be spread, but ultimately, the actual perpetrator is a great person to blame for their own actions!"

What I loved most about this was how forgiveness came about… not because of anything Annabel did or some dramatic event, but because Donnica was wrestling with her own guilt about Amber. It made her stop and reconsider how she treats everyone in her life, especially her other “daughter” in Annabel. I’m always drawn to writing these moments where a character’s personal struggles bleed over and change how they interact with everyone else. That’s the kind of storytelling that keeps me coming back.

 

"Another great segment here, and it felt so short compared to the first two! Yet it was no less impactful, possibly leading us toward a major plot development and arc merger down the line (or really soon, possibly; the "down the line" is really more me just trying to protect my precious Rebecca!)."

Oh, Rebecca’s got a trial or two ahead… she wouldn’t be Rebecca if she didn’t! (Damn she would hate me in real life if she knew what I was doing to her!) And yeah, this segment was a little shorter (for me, anyway), but I hope the character work and the moment of forgiveness gave it the impact it needed.

Lovely review, as always. Thank you!

Reviewer: It Was Me Signed [Report This]
Date: September 26 2025 10:28 AM Title: PART 33

She let the moment stretch, like taffy, until time itself bent beneath it.

This was an awesome line, maybe my favorite of S2! Not for anything it ties to or an action it's describing, but just the sheer poetry of it. I was just reading, and this line jumped off the screen! I just had to comment on how creative and unique it was, as well as such a beautiful combination of words could be used to describe the agony of two tinies suffering at Helena's bare feet. This just made the scene feel even bigger than it was!

But my first though as I was reading this segment was one I'd had before: that this perfectly illustrates the difference between Donnica and Helena. Thinking back to the previous segment, Donnica's reaction to seeing tinies running from the smell of her feet was anger that there were special accommodations for tinies on campus at all. It was rage that drove her. They didn't deserve that, in her mind. Things like this only kept them further from their true purpose: worshiping and serving at the feet of the giants. Even when they ran from her, Donnica telling them to smell her feet was more vindictive than it was joyful. As I've said before, Donnica isn't obsessed with the idea of tormenting tinies; she's upset that they don't understand their place in society (in her mind).

We saw something very different with Helena in S2. She worked out, jogged, just to get her feet extra smelly, reveling in the dankness when she'd normally want to just clean up (or at least most people would). Torturing tinies is a highlight for Helena, something to look forward to. Something to prepare for, to make as devastating to the tinies as possible. Where Donnica's cruelty toward tinies is based in rage, Helena's is based in joy, a happiness that she can only find in bullying those smaller than herself.

To be fair, this chapter didn't offer an apples to apples comparison between the two. Donnica gave tinies she'd never met a hard time, while Helena has a whole room filled with tiny enemies, people who used to think they were better than her (or at least good enough to stand against her). In a vacuum, it could be argued that this is what makes the difference, that vengeance rather than philosophy is what gives Helena her joy here.

But we're not in a vacuum. We've seen time and time again that Donnica never truly enjoys tormenting or killing tinies, not in the way that Helena does. At most (like at the restaurant for tinies that she crushed), it's a minor passing amusement for Donnica, one that doesn't last and often leaves her bored. And in the earlier chapters of the story, including that restaurant scene, there were plenty of instances of Donnica handling former rivals and people she felt had wronged her, and she never once acted the way Helena does here. Helena herself, on the other hand, I'd say that we've seen this in smaller doses before, like with the tiny butt slave she plucked from trash town (RIP) or the way she indulged in being worshiped on her throne in the Kingdom before speaking with Kassandra.

So yeah, once again, we have two women that, on the surface level, appear to be the same in their evil views about tinies but really couldn't be too much more different once you start digging into what makes them tick. I keep bringing this up when I see it because I love this level of nuance in characters that act similarly at first glance.

And while we're talking about Helena, I found that glimpse into her past through Marc and Nina to be pretty interesting. When we first met Helena, she was presented as the best of the best, an untouchable figure in the anit-tiny rights movement, someone on the level of Donnica herself. But when we first met Celine, before we even knew her name, we were told something different, that Helena had always come in second to this tiny rival, that it drove her crazy and made her feel like she wasn't good enough.

Now, with Marc and Nina, we see two people (although Nina more gets singled out) who thought themselves so far above Nina that they could put her down and even drive her out of the firm where they all worked at the time. Nina even felt comfortable telling Helena to kiss her feet in order for Helena to save her job. This is a much more vulnerable Helena than we've seen in the present, even in those moments where a defiant Celine has somehow beaten her at an inch tall, moral though those victories may have been.

It feels like, ever so gradually, Helena's origin story is unfolding, and we're getting to see how she came to be the monster that she is now. This has been a fun journey, and the way you're rolling it out, foot-by-foot and not even in each chapter, is such a clever pace. I really appreciate how you're taking your time with this!

The introduction of Lorelei was intriguing for a couple reasons.

The first thing that stuck out to me was where she was from: Germany. Penelope is from the UK, and her mother who still lives there now has been slightly hinted to be a powerful figure in the Sisterhood, one Helena feels indebted to or maybe even fears a little bit. I think it's interesting that these goddesses-in-waiting are being sent to Helena from Europe. It makes me speculate that the organization is maybe based across the Atlantic or at least has more pull there.

Given that it's been presented as unique how the United States has privatized registration for tinies, this potential development makes me quite curious how all of that works in Europe. Is there a policy shared among all EU members? If so, does the UK follow that policy too? Or does each country have their own rules regarding registration? And if they're stricter about it over there (which I feel like was kind of implied when Penelope was so excited to come to America), how does the Sisterhood operate so strongly over there?

And Helena herself was trained in the ways of being a "goddess" in Europe, in the UK (which, again, seems likely to be the connection between Helena and Penelope's mother, who I'm assuming trained Helena herself at this point). 

But then there's Lorelei herself. She's calm, composed, and fully respectful of the Sisterhood's rituals and ready to serve. She's the complete opposite of Penelope, who we were told is also a goddess-in-waiting. It really makes you wonder how two people trying to achieve the same rank can be so radically different, not only in their approach but in their very demeanor. Again, this, to me, hints at Penelope's mother being a key figure in the Sisterhood. I get the distinct impression that a brat like her would never even come close to consideration for such a rank if not for her bloodline.

Speaking of Penelope, her name did get dropped in this segment, so the posh princess is still around the estate apparently. That was pretty exciting to read! This dinner that she's supposed to be preparing for Helena grabbed my attention as well! Does that mean what I think it means?

And Celine's going to be there? Count me in!

Back to Lorelei, the fact that Helena compared Lorelei to her younger self again seems to feed into the idea that Helena was once very different from how she is now. Because, despite Lorelei's fanaticism toward the ways of the Sisterhood, her complete devotion to them, she doesn't strike as arrogant in the least. Certainly not in the way Helena does now. I'm really starting to think that Helena's current persona was more built or ingrained than it was naturally developed, which would be pretty intriguing if true.

And the way that Helena takes such an interest and such pride in Lorelei's "development" shows just how much reverence Helena has for the tradition, the ritual, the true purpose of the Sisterhood. Helena is happy to see that she "chose well" with Lorelei and even punished Marc and Nina despite them doing a good job to make sure Lorelei learned the supposed proper lesson from it all. Helena strikes me less as a superior or simple mentor here and almost more like a parental figure, getting excited at the thought of Lorelei's bright future as a "goddess."

"It is the process. Duality isn’t a feature. It is the nature. A goddess cannot rise through affection alone. She must be capable of wrath. Of cold, absolute judgment. Without it, there is no fear. Without fear, there is no reverence. And without reverence, there is no rule."

Well damn, now I feel like fucking Palpatine is going to end up being behind the Sisterhood with talk like that. It really is almost Sith-like.

But this stuff about duality is interesting! The Sisterhood teaches that its goddesses must be both kind and cruel. This sort of makes sense, since they seem to view themselves as rulers over the tinies. They want the love of their subject, but respect is more important. That "wrath" is the key to becoming a "goddess" from the sound of it. Like they can't be revered, properly honored, without showing a certain level of coldness to their people at times (or at least some of them, given that Helena has separated these tinies out from her subjects).

If you're nothing but nice, you run the risk of being taken advantage of, even by inch-high people. To act divine, you have to be capable of both mercy and absolute judgment. There's a certain logic to that. A certain balance. If I'm understanding Helena right here, she's more or less saying that certain tinies need to be punished, if for nothing else than to keep a goddess share in her divine judgment, to keep her from going soft. But only those that deserve it, that have earned their suffering through arrogance (which, for Helena, I take to mean tinies who expect/fight for equal rights in most cases!).

And then Helena says this:

She looked back at Lorelei, eyes narrowed just slightly. "You will understand this when your time here ends. When you rule a domain of your own. You must know who deserves adoration and who deserves only submission. Any woman who doesn't know the difference is bound to shrink eventually, understood?"

Now this was a significant passage. I could have easily led the review with it, honestly. Because it tells me one of two things:

1. The Sisterhood knows much more about the shrinking virus than the rest of the world and may even have had a hand in its creation. Shit, if this is true, the story might even dip its toes into the mystical world as well as the sci-fi one of the Kingdom. I mean, they are a very ritualistic organization.

2. They're a cult that thinks it knows the truth behind the virus and have developed a religion of sorts around it. If this is true, they really know nothing but speak as though they know everything, building rituals and a ruling class for a world that will never truly become what they expect.

For the sake of people like Scarlett, I really hope it's the second one. Because if the Sisterhood is right, then anyone that feels as though tinies are equal to giants, that they're still people and not slaves and subjects, is going to shrink eventually.

Of course, if the first one is true, it opens up a lot of questions and potentially gives this story a truly epic endgame scenario (not that it needs to be true for this to be the case, but seeing our "heroes" rush to stop or control such an event could be pretty fucking spectacular).

Oh, and then there was this:

Helena smiled. Not kindly. But knowingly. "When you hook a whale, you reel it in. We don’t know when the next viral wave will come... or if it will be the final one. The Inner Circle will rule what’s left. We need a seat. We need a Matriarch. We need Donnica."

This seems to heavily imply that the Sisterhood do, in fact, have inside knowledge of what is going on with the virus. Not perfect knowledge, as they seem unsure if the next one will be the "final one" (interesting that they seem to know that there will be a final wave and that it hasn't happened yet), but that's still a level of understanding that the world at large doesn't seem to have (again, unless they're cultist nuts who are wrong, which, while I'm not leaning toward, can't be ruled out yet).

Not only that, but now we know there's an Inner Circle within the Sisterhood, and that they are marked to be the true rulers (presumably of the world). It makes me wonder if those in the Sisterhood who aren't in the Inner Circle are destined to shrink as well or if they'll just be treated as "lesser goddesses," glorified full-sized servants to the true rulers.

But yeah, we got a huge lore dump during that Helena and Juliette conversation. The Table seems to be the ruling body within Helena's covenant, and Juliette and Vivara seem to be just beneath Helena herself, with the power to veto or approve new members Helena wants to bring in.

We now also have a semi-solid answer for why Helena wants Donnica involved in her plans so badly; she's a matriarch, which, at the very least, means she can imprint way faster than most, a skill I think the organization would value as it tries to gain more "subjects." But Donnica is Helena's political play, her ticket into the elite body that is supposed to control the world when all is said and done. I still think Helena has a personal affection for Donnica as well, romantic or otherwise, but Helena is hoping to use Donnica for personal gain (although it sounds like Donnica would gain something out of this as well; not that I expect Donnica would be satisfied sharing power with anyone!).

And now Helena has become a major threat to Trevor. Not directly, but it seems like Helena is going to push hard for Donnica to downgrade Trevor sooner rather than later. I don't think this will work, but I assume there will be a moment of doubt that'll make me second guess that before the "real" Donnica, the one buried beneath that armor I mentioned in my last review, wins out in the end. That'll be something Helena never understands, I think, which is why she'll lose.

To me, it's only a question of whether things end up back to the status quo for Donnica at the end of this or she has usurped Helena's covenant, if not the entire Sisterhood.

It was also cool to dig a little deeper into Juliette and Helena's relationship. Helena trained her and initiated her into being a "goddess," and Juliette's appreciation for that clearly runs deep. That Juliette views Helena as a maternal figure was something I didn't expect (I theorized that she was sent by the larger organization to keep an eye on Helena; fuck was I wrong!).

Helena seems to hold Juliette in high regard, too. I don't recall Helena calling Vivara sister (although she may have just avoided that in front of Donnica). But Juliette seems to get more slack in arguing her points against Helena's. Helena holds back her annoyance and explains herself to Juliette, something I would never expect Helena to do for a subordinate. I think she knows that Juliette is just looking out for her, and she actually appreciates it.

I came away from that interaction with an even higher opinion of Juliette, even if she is on the "wrong" side of things. Her loyalty is admirable, and the fact that it isn't an overly devotional loyalty, one that would lead to her blindly agreeing with Donnica about everything, says a lot about her strength of character and personality. I find myself really hoping she ends up flipping on Helena and working more with the main cast as the story progresses.

We even got the names of two "high-goddesses," higher-ups in the Sisterhood: Marion and Yuriko. I've got Marion clocked as potentially being Penelope's mother already. No evidence, just a gut feeling.

It also sounds like we'll meet these two fairly soon. That should tell us a lot more about this organization.

She was moving now toward the rear of the chamber, where a different kind of altar awaited... one designed not for feet, but for her other, perhaps greater, throne. Her ass.

The ass worshipping chair.

I'm stunned that you inserted an ass worshipping chair into this chapter. Stunned, I say!

Awesome segment! You worked in a ton of smuttiness, yet a ton of lore and background information as well! This was masterfully done, weaving the action and the details you want us to know so seamlessly with each other. Very well done!

Author's Response:

"This was an awesome line, maybe my favorite of S2! Not for anything it ties to or an action it's describing, but just the sheer poetry of it. I was just reading, and this line jumped off the screen! I just had to comment on how creative and unique it was, as well as such a beautiful combination of words could be used to describe the agony of two tinies suffering at Helena's bare feet. This just made the scene feel even bigger than it was!"

Haha, I will never turn down a prose compliment. Thanks for singling out that line… those little fuckers take forever to get right, and it’s awesome to hear when one really pops.

 

"So yeah, once again, we have two women that, on the surface level, appear to be the same in their evil views about tinies but really couldn't be too much more different once you start digging into what makes them tick. I keep bringing this up when I see it because I love this level of nuance in characters that act similarly at first glance."

I love that you keep singling this out. I’ve worked hard to make Helena and Donnica look alike (tall, blonde, commanding, even the same shoe size) while running on totally different engines. Those differences power so much of their conflict (well, that and Trevor being smooshed under Helena’s ass). As we move forward, those cracks should widen… or close, depending on how the pieces fall.

 

"It feels like, ever so gradually, Helena's origin story is unfolding, and we're getting to see how she came to be the monster that she is now. This has been a fun journey, and the way you're rolling it out, foot-by-foot and not even in each chapter, is such a clever pace. I really appreciate how you're taking your time with this!"

Oh yes! we’re only just starting to peel back Helena’s past, and there are some big reveals coming (maybe even sooner than you think!). I’ve always believed that backstory, if handled right, is the story… you don’t need endless subplots or filler if all the current conflicts are rooted in history. All you have to do is roll that history out piece by piece, at the right moments, and let each revelation sharpen the conflict in the present. Do that, and you don’t just get exposition, you get story!

 

"Given that it's been presented as unique how the United States has privatized registration for tinies, this potential development makes me quite curious how all of that works in Europe. Is there a policy shared among all EU members? If so, does the UK follow that policy too? Or does each country have their own rules regarding registration? And if they're stricter about it over there (which I feel like was kind of implied when Penelope was so excited to come to America), how does the Sisterhood operate so strongly over there?"

Great points! And yeah, there’s probably a reason Helena’s estate is pulling in so many Euro-goddesses. But we might only be seeing the tip of the iceberg... between her firm and all the girls doing their fellowships at the estate, there’s a lot moving under the surface. So maybe there are more girls coming from other places. Europe definitely has more protective laws for tinies, but that makes me wonder what kind of shape the Sisterhood takes over there... and like you said, Penelope’s excitement about America hinted at that contrast. And don’t forget, Asia (which we touched on earlier in the story) has almost no protections at all. So why not just send the girls there? Why doesn’t the Sisterhood run everything out of Asia instead? So many interesting questions to ponder!

 

"But then there's Lorelei herself. She's calm, composed, and fully respectful of the Sisterhood's rituals and ready to serve. She's the complete opposite of Penelope, who we were told is also a goddess-in-waiting. It really makes you wonder how two people trying to achieve the same rank can be so radically different, not only in their approach but in their very demeanor. Again, this, to me, hints at Penelope's mother being a key figure in the Sisterhood. I get the distinct impression that a brat like her would never even come close to consideration for such a rank if not for her bloodline."

I love that you bring them up together, because that was exactly the point: showing the contrast inside the Sisterhood itself. On one hand you’ve got devotees like Lorelei who are disciplined and devout, and on the other, you’ve got Penelope, who’s probably only in the running because of her family name. We’re just starting to dig into the Sisterhood, and I’m excited to show off more of its politics, traditions, and hidden history. It would’ve been boring if the group was painted as flawless and all-powerful, so having initiates as different as Lorelei and Penelope really opens the door for tension and conflict.

 

"That was pretty exciting to read! This dinner that she's supposed to be preparing for Helena grabbed my attention as well! Does that mean what I think it means?"

…yeah, it probably means exactly what you think it means ;)

 

"Back to Lorelei, the fact that Helena compared Lorelei to her younger self again seems to feed into the idea that Helena was once very different from how she is now. Because, despite Lorelei's fanaticism toward the ways of the Sisterhood, her complete devotion to them, she doesn't strike as arrogant in the least. Certainly not in the way Helena does now. I'm really starting to think that Helena's current persona was more built or ingrained than it was naturally developed, which would be pretty intriguing if true."

I love that you picked up on this about Helena! Because yeah, let’s just say she’s changed a lot over the years… and maybe not in the most natural way. As you’ll see (perhaps even later in this chapter!) there are some big pieces of her history that shaped her into what she is now.

 

"If you're nothing but nice, you run the risk of being taken advantage of, even by inch-high people. To act divine, you have to be capable of both mercy and absolute judgment. There's a certain logic to that. A certain balance. If I'm understanding Helena right here, she's more or less saying that certain tinies need to be punished, if for nothing else than to keep a goddess share in her divine judgment, to keep her from going soft. But only those that deserve it, that have earned their suffering through arrogance (which, for Helena, I take to mean tinies who expect/fight for equal rights in most cases!)."

Great points here! The takeaway really is that a goddess has to embody both mercy and wrath, and the natural order will provide the opportunities for each. Punishment isn’t something Helena sees as exceptional… it’s as normal to her as breathing.

 

"Of course, if the first one is true, it opens up a lot of questions and potentially gives this story a truly epic endgame scenario (not that it needs to be true for this to be the case, but seeing our "heroes" rush to stop or control such an event could be pretty fucking spectacular)."

I usually stay away from speculating in these replies, but I’ll say this: of the two options you suggested, it might be one, it might be the other… or maybe even a mix of both ;)

(classic me response!)

 

"But yeah, we got a huge lore dump during that Helena and Juliette conversation. The Table seems to be the ruling body within Helena's covenant, and Juliette and Vivara seem to be just beneath Helena herself, with the power to veto or approve new members Helena wants to bring in."

That’s right! The Table is in charge. But remember… Helena mentioned she’d need both Juliette and Vivara’s support to push Donnica’s initiation through. That raises the question: are there others at the Table who could block it? And if so, will we meet them…

(okay fine, the answer is yes lol)

 

"And now Helena has become a major threat to Trevor. Not directly, but it seems like Helena is going to push hard for Donnica to downgrade Trevor sooner rather than later. I don't think this will work, but I assume there will be a moment of doubt that'll make me second guess that before the "real" Donnica, the one buried beneath that armor I mentioned in my last review, wins out in the end. That'll be something Helena never understands, I think, which is why she'll lose."

Ahhh yes, Trevor… the thorn in Helena’s side. If it weren’t for him, she’d probably have Donnica all tied up already… or would she? When she said you reel in a whale when you hook one, maybe she should’ve said a bull, probably closer to Donnica’s energy. Either way, you’re absolutely right that the Donnica/Trevor relationship sits at the heart of the story and will keep being tested as the Kingdom and Sisterhood drama ramps up.

 

"I came away from that interaction with an even higher opinion of Juliette, even if she is on the "wrong" side of things. Her loyalty is admirable, and the fact that it isn't an overly devotional loyalty, one that would lead to her blindly agreeing with Donnica about everything, says a lot about her strength of character and personality. I find myself really hoping she ends up flipping on Helena and working more with the main cast as the story progresses."

I love that you got this from Juliette! I wanted that dynamic between her and Helena to shine through; that mutual respect that lets Juliette challenge Helena without fear. Writing characters with their own motives and agency is one of my favorite things, and even someone like Annabel, fanatical as she is, still acts on her own terms at times. Juliette is going to get more time in the spotlight soon, and I’m glad you’re already connecting with her.

 

"We even got the names of two "high-goddesses," higher-ups in the Sisterhood: Marion and Yuriko. I've got Marion clocked as potentially being Penelope's mother already. No evidence, just a gut feeling.

It also sounds like we'll meet these two fairly soon. That should tell us a lot more about this organization."

Oh yes… we’ll be meeting them sooner than you think. And I think you’ll like that encounter ;)

 

"I'm stunned that you inserted an ass worshipping chair into this chapter. Stunned, I say!"

What can I say… if Helena’s in a SMUT scene, you bring out her magnificent ass. It might not quite as good as Donnica’s, but it’s damn close.

I know smell isn’t your thing, but hopefully there was still some fun to be had in the fetish side of this segment!

 

"Awesome segment! You worked in a ton of smuttiness, yet a ton of lore and background information as well! This was masterfully done, weaving the action and the details you want us to know so seamlessly with each other. Very well done!"

Thank you, man! That’s one of my golden rules… that a chapter/segment must be doing at least two things at once. So, if I’m dropping lore and worldbuilding (barf), I’m damn sure also going to have some smut to keep things flowing.

Amazing review again, I loved reading every word of it!