Reviewer: It Was Me Signed [Report This]
Date: July 25 2025 10:33 AM Title: PART 31

Okay, so even though I'm only one segment in, Helena's Kingdom has already left me amazed!

I expected that there would be some sort of tiny city or community on her estate, but I didn't expect that! The fact that they have tiny plant life and and that the sun somehow looks unimpeded by any sort of glass ceiling is impressive enough. But the fact that these tinies are clearly raising families here? That's interesting. It makes sense, given that, unlike the tiny communities of the outside world, these people can pretend that everything is normal for them. This particularly struck me when we saw the lake, as that made me think back to when Amber "collected" Rebecca's old stuff from her former community and how she stepped into that puddle and ruined their swimming hole. The contrast between life in the Kingdom and that existence is extremely stark!

And the cult-like behavior of the residents is very utopian. Creepily so, in fact. And the fact that so many people already knew Trevor's name was a tad unsettling. I mean, it's great that these people are clearly so happy, but the way they went so far out of their way to learn Trevor's name and try to make him feel not just welcome but like an old friend is just so ... unnerving to me.

I'm also wondering what it is that Helena and this organization that may or may not (but definitely does) exist expects out of these people in return for this idyllic life they've been given. Because Helena is certainly no friend to tinies, so why would she do this for them? Why is she so fond of those tinies in particular, when she holds nothing but disdain for every other tiny? Who are these people, and what makes them so special that they get to be the ones that live there?

And who was that woman who emerged from the lake? Based on how Vikki and Ricci were acting, I'm guessing that she's the reason they wanted to bring Trevor here (I knew they were up to something!). But man did she come off as angelic and perfection incarnate here! I'm really feeling eager to find out more about her, even though I might not be able to jump back into this until Saturday.

Oh, and I love what you did describing the estate on the way to the Kingdom. The way the house gave way from its old money feel to a more modern, lab-based design was great! Not only that, but this also makes it pretty clear that all this stuff was installed much later than the older parts of the house. So we can assume that the Kingdom is at least a fairly recent addition to Helena's home.

You know, I theorized a couple chapters ago that Helena wants Donnica to end up with one of these Kingdoms for her to rule over. I can't see it. Donnica would hate this. Whereas Helena enjoys being above the tinies, Donnica more just wants to put them in their place, I think. She can't stand weakness and respects strength, so how would she react if a bunch of tinies go to live out their days in peace and harmony, not having to worry about the realities of their size on a daily basis? Disgusted, that's how.

While Helena relished stepping on the tinies of that trash city and even plucking one up to do God knows what with, Donnica was just happy to imagine that she was the one who ruined their lives and was responsible for putting them there. When Helena picked up that girl, to Donnica it was like picking up a penny from the ground. She doesn't care about lording her dominance over them It's effortless for her. No, she'd hate these tiny freeloaders getting a pass, so I don't see her getting onboard with Helena's agenda at the end of the day.

And while we're talking about Donnica, I loved that bit at the start about Trevor and her discussing the situation. It was said during chapter 29 that Donnica had agreed to let Helena keep Trevor for a while because of this Status-C stuff. I thought that was kind of shitty of Donnica (although we didn't hear her say it, so I wasn't sure if it was true or the circumstances behind it). But to find out that Trevor and she talked this out like a real couple, even considering blowing the whole thing up and ruining Helena was actually surprisingly satisfying to read! Not only does that mean that Donnica still puts more value in Trevor's wants than Helena's persuasive arguments (which makes me feel better about Celine's prediction that Donnica would be made to think like "them"), but that also shows that Donnica hasn't really buried the hatchet with Helena nearly as much as the latter believes.

Also, what is the government doing with tinies? You didn't slip that Status-C loophole about the claim being thrown out past me. Why would the government ever want to own a tiny person, even if they're considered property? Are those tinies auctioned off to help pay off the deficit? Or is the government doing something more nefarious behind the scenes?

I've got my eye on you, Uncle Sam!

Finally, I feel even more confident that Juliette is a member of this secret organization sent to help/watch Helena rather than just some paralegal who Helena has brought into the fold. Her behavior in S1 was that of reverence for the Kingdom. She didn't like that Trevor was being allowed access, not just because she doesn't like him but because she's worried that he'll somehow destroy the tranquility that exists there. And then there was that moment when she almost told Trevor something "real," but didn't end up saying anything. That seemed to be motivated by a warm feeling she got when she laid eyes on the walls of the Kingdom.

I don't know. Her behavior throughout the beginning of the segment all had me feeling this way about her, just like that segment where she was questioning Helena.

Awesome segment! It was so cool to finally see the Kingdom, and again, it greatly exceeded anything I expected. And by a lot, too! Now to jump back in and find out who this mysterious woman is!

Author's Response:

"I expected that there would be some sort of tiny city or community on her estate, but I didn't expect that! The fact that they have tiny plant life and and that the sun somehow looks unimpeded by any sort of glass ceiling is impressive enough. But the fact that these tinies are clearly raising families here? That's interesting. It makes sense, given that, unlike the tiny communities of the outside world, these people can pretend that everything is normal for them. This particularly struck me when we saw the lake, as that made me think back to when Amber 'collected' Rebecca's old stuff from her former community and how she stepped into that puddle and ruined their swimming hole. The contrast between life in the Kingdom and that existence is extremely stark!"

That was exactly the idea behind introducing the Kingdom. We’ve spent so long immersed in a world that’s constantly hostile to tinies, so I really wanted the reveal to hit like a slap… a sudden shift into something almost dreamlike, a jarring contrast that would land hard. And from your reaction, I think it did!

 

"I'm also wondering what it is that Helena and this organization that may or may not (but definitely does) exist expects out of these people in return for this idyllic life they've been given. Because Helena is certainly no friend to tinies, so why would she do this for them? Why is she so fond of those tinies in particular, when she holds nothing but disdain for every other tiny? Who are these people, and what makes them so special that they get to be the ones that live there?"

Ah yes, that’s the question, isn’t it? Could it be that these little people serve some other purpose beyond simply existing… or maybe existence is the point? Existence in harmony with some natural order that Helena believes she’s enforcing.

...And yet, as you said, it does feel like something else lies just beneath the surface of this so-called paradise. That its existence would have to serve a separate purpose...

 

"And who was that woman who emerged from the lake? Based on how Vikki and Ricci were acting, I'm guessing that she's the reason they wanted to bring Trevor here (I knew they were up to something!). But man did she come off as angelic and perfection incarnate here! I'm really feeling eager to find out more about her, even though I might not be able to jump back into this until Saturday."

LOL! Those two really can’t help themselves. There’s definitely some scheming going on, though I hope it comes off as more mischievous than malicious. As for the woman in the lake... I suppose you’ll just have to wait till Saturday to find out more ;)

 

"Oh, and I love what you did describing the estate on the way to the Kingdom. The way the house gave way from its old money feel to a more modern, lab-based design was great! Not only that, but this also makes it pretty clear that all this stuff was installed much later than the older parts of the house. So we can assume that the Kingdom is at least a fairly recent addition to Helena's home."

Yes, exactly, it's meant to feel like something bolted onto an older legacy, an evolution that diverged from the original intent of the estate. However, given that the mansion is likely over a century old, the Kingdom could’ve been added at any point in the last few decades… but it’s definitely newer. That contrast matters.

 

"And while we're talking about Donnica, I loved that bit at the start about Trevor and her discussing the situation. It was said during chapter 29 that Donnica had agreed to let Helena keep Trevor for a while because of this Status-C stuff. I thought that was kind of shitty of Donnica (although we didn't hear her say it, so I wasn't sure if it was true or the circumstances behind it). But to find out that Trevor and she talked this out like a real couple, even considering blowing the whole thing up and ruining Helena was actually surprisingly satisfying to read! Not only does that mean that Donnica still puts more value in Trevor's wants than Helena's persuasive arguments (which makes me feel better about Celine's prediction that Donnica would be made to think like 'them'), but that also shows that Donnica hasn't really buried the hatchet with Helena nearly as much as the latter believes."

Yeah, I really wanted to re-center Trevor and Donnica’s relationship here… to remind everyone that, yes, they are still a couple beneath all the status wrangling and size play and domination. It felt important to show that they’re still talking, still making decisions together, even if the circumstances are murky.

As for why they’re going ahead with it… I don’t think it’s just the Status-C State claim. That was the final push, but there’s a fog of uncertainty around what Helena can or would do if they pushed back. It’s a legal grey area they are eager to exit, and they think playing ball is the quickest way to make that happen.

As for the conversation that happened off screen (page?) between Helena and Donnica, that is interesting, I wonder what was actually said there...

 

"Finally, I feel even more confident that Juliette is a member of this secret organization sent to help/watch Helena rather than just some paralegal who Helena has brought into the fold. Her behavior in S1 was that of reverence for the Kingdom. She didn't like that Trevor was being allowed access, not just because she doesn't like him but because she's worried that he'll somehow destroy the tranquility that exists there. And then there was that moment when she almost told Trevor something 'real,' but didn't end up saying anything. That seemed to be motivated by a warm feeling she got when she laid eyes on the walls of the Kingdom."

Oh yeah… Juliette is absolutely more than just a paralegal. You’re picking up exactly the right threads. There’s something deeper going on with her, something tightly woven into Helena’s world… and the Kingdom.

 

"Awesome segment! It was so cool to finally see the Kingdom, and again, it greatly exceeded anything I expected. And by a lot, too! Now to jump back in and find out who this mysterious woman is!"

Thank you! Like I mentioned in our DMs, S1 and S2 are really just two halves of the same sequence, so once you’re into the second part, I think a lot more will come into focus. That’s also why I held back on replying to some parts of the review, figured I’d wait till you’d seen the rest!

I’m thrilled you enjoyed it though. And hey, I may not be able to tease you about the Kingdom anymore… but I promise I’ll find something else to dangle in front of you soon ;)

Reviewer: GiantessLover21 Signed [Report This]
Date: July 23 2025 8:57 PM Title: PART 31

What an interesting chapter with some questions answered and so many new ones.

The beginning with Trevor being on the palm of Juliette gives me the image of Sun Wukong being trapped on Buddha’s hand. This image gives even more power and deity presence to Helena and her girl, Juliette is not portrayed as just a regular giantess, but as a goddess who rules this place and Trevor is nothing compared to her, just an object she has to carry on the order of Helena. For her, Trevor is nothing more than a boring bug.

Something I also enjoy is all the process for giving back Trevor to Donnica, it’s so messed up to see the amount of effort for a single Status-C while there are so many other tiny beings captured, tortured, crushed, or sold, probably because the Status-C makes the tiny a giantess’s property. I also loved the determination of Donnica, being ready to ruin Helena for Trevor if that doesn’t mean losing him to the hands of the state.

So, the only solution is to follow the rules and have Trevor spend a lot of time in the estate of Helena. Until all the procedure is done and he is Donnica’s tiny forever.

But for now, he is going to discover the secret of this new place called the “Kingdom”. The most kept secret of Helena, and after walking for a long time in the estate, I want to say the work on the description is perfect, it’s almost like we’re Trevor and we discover it at the same time as him. And the details like the magnetic key to open the door make it even more intriguing, making us imagine so many theories about this Kingdom and why it has to be so protected. And even more mystery comes to us when Trevor and Juliette enter a place full of vegetation. Why in a palace is there that? And finally, our questions will be answered when Juliette puts Trevor into a place so he could join Ricci, so she could explain what they want from him. And the first thing interesting is the difference between Juliette, who is cold, almost doesn’t speak, and acts as a goddess, and Ricci, who is so friendly, full of energy, and speaks so much. Even with the way they walk, we can see the difference, Juliette is walking slowly (for a giantess) with high heels, while Ricci is running with her little sandals.

And finally, we discover what the Kingdom is, an entire world but for tiny people where it looks like paradise, with an entire environment like they never shrank, a place where the virus seems to not even exist. With every detail thought to be perfect to make sure there is no difference between the real world and the Kingdom, even the sky and the sun seem to be natural.

And in the middle of that piece of heaven, there are people who live like people, not tiny, they have houses, families, and even children. And these people, when they see Trevor it was like they see an old friend, it was like he has always lived here, but no.
The most surprising is the calm of the people, they’re not scared, they just enjoy their life, children can play, joke be like children.

And the best thing about it is there is no money, that makes it the perfect place.

And all this segment continues showing how perfect the Kingdom is, at least from the view of Trevor, it’s beautiful, the atmosphere looks so real, the people are kind and not afraid like so many tiny outside this place. And after a little while, Vikki joins them, and the duo is together again and damn. What a perfect duo, so much energy, so much fun.
And while they continue the visit, we can feel like this place is meant to look like a paradise. This place even has a river, so people can just enjoy it. It’s the perfect paradox with the world we’ve known, with tiny people living in dire situations, being the toys of giantesses, except for the ones who are lucky enough to be rich, but it’s just a small part, most of them only survive, while this place allows them to live a normal life. And to end this first segment, we have a new tiny, unnamed for now, but who seems to interest Trevor. After Celine, is our little protagonist switching sides?

In conclusion, this first segment is incredible, with so many incredible descriptions of the different places, especially the Kingdom, everything makes it look like a paradise, not something we see often for places reserved for tiny people in DAW. And also the characters, with the cold Juliette and our two little suns, Vikki and Ricci, it’s amazing to follow this segment and this new little tiny who looks interesting.

 

Author's Response:

"The beginning with Trevor being on the palm of Juliette gives me the image of Sun Wukong being trapped on Buddha’s hand. This image gives even more power and deity presence to Helena and her girl, Juliette is not portrayed as just a regular giantess, but as a goddess who rules this place and Trevor is nothing compared to her, just an object she has to carry on the order of Helena. For her, Trevor is nothing more than a boring bug."

Wow, I never imagined I’d get a Buddha comparison, but that’s incredible… and now that you’ve said it, I totally see it! I love the way you frame it: Helena as the goddess, revered by her chosen few, and Trevor just a mortal being ushered through sacred space by a divine hand. That’s the exact energy I was going for. I’m so glad it came across that way!

 

"Something I also enjoy is all the process for giving back Trevor to Donnica, it’s so messed up to see the amount of effort for a single Status-C while there are so many other tiny beings captured, tortured, crushed, or sold, probably because the Status-C makes the tiny a giantess’s property. I also loved the determination of Donnica, being ready to ruin Helena for Trevor if that doesn’t mean losing him to the hands of the state."

So glad this landed with you! The Status-C system is a massive thematic anchor for this entire arc, so hearing that it clicks (and feels appropriately intense) is really affirming. It’s the very reason Trevor is even at the estate, and the legal/ethical weight behind his transfer is something I try to make feel heavy.

 

"But for now, he is going to discover the secret of this new place called the “Kingdom”. The most kept secret of Helena, and after walking for a long time in the estate, I want to say the work on the description is perfect, it’s almost like we’re Trevor and we discover it at the same time as him. And the details like the magnetic key to open the door make it even more intriguing, making us imagine so many theories about this Kingdom and why it has to be so protected. And even more mystery comes to us when Trevor and Juliette enter a place full of vegetation. Why in a palace is there that?"

Ahhh this makes me so happy! The intro to S1 went through a lot of rewrites to nail that sense of scale-shifting wonder. I really wanted readers to feel like they were stepping through that door with Trevor… and that something monumental was happening. Huge props for noticing the magnetic key detail! That was my little signal that this wasn't just a physical space, but a locked vault of something sacred. And yeah, the smell of plant life... the quiet strangeness of it... it’s all meant to build the suspense breath by breath.

 

"And finally, our questions will be answered when Juliette puts Trevor into a place so he could join Ricci, so she could explain what they want from him. And the first thing interesting is the difference between Juliette, who is cold, almost doesn’t speak, and acts as a goddess, and Ricci, who is so friendly, full of energy, and speaks so much. Even with the way they walk, we can see the difference, Juliette is walking slowly (for a giantess) with high heels, while Ricci is running with her little sandals."

Haha YES. Juliette is ice. Ricci is pure sunshine. I wanted the tonal shift between them to feel immediate and jarring, like the story itself took a breath and exhaled something new. The cold silence of Juliette walking in heels, then BAM! Ricci’s chaos with her bouncing sandals and constant chatter. It was meant to feel like you crossed from temple to circus. (And let’s be honest, Ricci definitely looks adorable in those little sandals.)

 

"And finally, we discover what the Kingdom is, an entire world but for tiny people where it looks like paradise, with an entire environment like they never shrank, a place where the virus seems to not even exist. With every detail thought to be perfect to make sure there is no difference between the real world and the Kingdom, even the sky and the sun seem to be natural.
And in the middle of that piece of heaven, there are people who live like people, not tiny, they have houses, families, and even children. And these people, when they see Trevor it was like they see an old friend, it was like he has always lived here, but no.
The most surprising is the calm of the people, they’re not scared, they just enjoy their life, children can play, joke be like children.
And the best thing about it is there is no money, that makes it the perfect place."

Yes! That’s exactly the sensation I was hoping for, that the Kingdom would feel like a full alternate reality, not just a fancy habitat. A place where being tiny isn’t a curse, where life can unfold naturally, as if the virus never touched them. I love that you highlighted the reaction of the people seeing Trevor, familiar, not fearful. That peaceful, sun-washed communal vibe was key to selling the illusion of utopia. And yes, no money plus the occasional barefoot giantess strolling nearby… sounds like paradise to me :D

 

"And while they continue the visit, we can feel like this place is meant to look like a paradise. This place even has a river, so people can just enjoy it. It’s the perfect paradox with the world we’ve known, with tiny people living in dire situations, being the toys of giantesses, except for the ones who are lucky enough to be rich, but it’s just a small part, most of them only survive, while this place allows them to live a normal life."

Exactly. I wanted that contrast to feel violent in its emotional weight. We’ve seen Trevor’s compound, Rebecca’s compound, the Cardboard Town… and none of them were kind. They were bleak at best. Then suddenly, we walk into this. A hidden paradise. An illusion, perhaps. But a beautiful one. I hoped the extremity of it would really shake the reader’s perception of what this world could be. And based on your response, it worked!

 

"In conclusion, this first segment is incredible, with so many incredible descriptions of the different places, especially the Kingdom, everything makes it look like a paradise, not something we see often for places reserved for tiny people in DAW. And also the characters, with the cold Juliette and our two little suns, Vikki and Ricci, it’s amazing to follow this segment and this new little tiny who looks interesting."

This whole segment review made my day! And “our two little suns” is such a sweet and perfect description for Vikki and Ricci. I’m thrilled you connected with the worldbuilding and the character contrasts so deeply. This arc has been such a joy to write thus far… getting to expand the lore, introduce some bright new personalities, and send Trevor on this odyssey… it’s been a blast!

And more to come! 

Reviewer: PlanetMight88 Signed [Report This]
Date: July 22 2025 12:14 AM Title: PART 31

If I was Trevor I would stay with Vivara. :)

I’m curious if a lot of the subjects were brainwashed into being loyal to Helena.

Great Chapter!

Author's Response:

Vivara really does feel like the kind of goddess you could surrender to forever, doesn’t she?

The brainwashing question is a good one. Some of the tinies seem a bit more clear-eyed, others are almost... entranced. Maybe it’s a spectrum of pure devotion, or maybe there’s something deeper threading through their minds. Hard to say... yet ;)

Thank you for the kind words!

Reviewer: It Was Me Signed [Report This]
Date: July 20 2025 3:15 AM Title: PART 30

The memory lingered even now. Amber’s voice had been sharp with protective anger, her eyes dark with worry.

This line really stuck out to me because of its duality. That protective anger and those eyes dark with worry evoked in my mind a feeling of angry possessiveness based in love with Amber, something you confirmed in the next paragraph when you mentioned the master and slave thing and how erotic Rebecca found her scolding. I just thought that there was a really nice blend of that darkness lingering inside Amber and the love she has for Rebecca mixed into those particular descriptions!

I also thought Rebecca saying that she won't do something similar "next time" was interesting. Would she really consider doing another pageant? I guess, despite everything, maybe part of her enjoyed the experience (or maybe just the ovation she got during the People's Princess competition).

The most significant part of this chapter, though, was Scarlett's realization. I love the way it came about, with Scarlett about to politely acknowledge but ignore Rebecca's encouraging words, only for them to help her see that everything Rebecca put herself through was for her. It wasn't some grand reveal or accidental tell that Rebecca gave off; it was completely random, and, in this instance, it was perfect!

I was hoping that Scarlett would realize what Rebecca did for her, but this was so much more than that. Scarlett, through this revelation, realized that her whole understanding of love all this time had been completely wrong. It was laid out so nicely when she thought about how love wasn't about gestures, words, or gifts: Those things are about attention. Real love isn't about that at all!

Rebecca's actions moved Scarlett so much not only because the tiny princess was trying to show her the importance of perseverance or that her hard work can pay off, but because Rebecca never once said any of that. Rebecca didn't do this to show Rebecca her feelings or to get credit for it, she did it because she cares. It wouldn't have mattered to Rebecca if Scarlett never found out her reason for doing what she did; all she wanted to do was help someone she loved.

That's such a deep, thoughtful concept for Scarlett to grasp, and referring to it as "the edges of childhood starting to wear away" was a perfect way to describe it. Because this wasn't some youthful infatuation or a false feeling of love caused by Rebecca doing something nice for her; it was a realization of how Rebecca really feels about her and understanding her own feelings at the same time. Because we already saw hints of Scarlett liking Rebecca back when they first met: Scarlett's intense nerves when they first talked, her shock and appreciation for Rebecca covering for her little masturbatory session at Amber's desk, and Scarlett's own microsexualism, not to mention Rebecca stepping up and helping her with that Verdanne application as mentioned back in S1, as well as how invested Scarlett became in Rebecca's pageant efforts in S1 and S2.

It's felt as though there was a connection between the two of them from the start (Rebecca described Scarlett so sensually during that masturbatory scene and again during the wet dream in S3), and Scarlett finally realizing that Rebecca loves her (even if she can't admit it yet; more on that in a minute) made it easy for Scarlett to admit to herself that she loved Rebecca back. Feeling loved like that is pretty hard to resist, after all.

But I really like how you inserted Rebecca pushing her own feelings aside and dismissing Scarlett as "a kid, swept up in something tender and impulsive, caught in the magic of the day." Because Scarlett's part of the narrative made very clear that this wasn't what was happening with her. It makes sense that Rebecca would take it this way, though. It's sometimes easy to forget that she's, what, 32? It's easy sometimes to think someone so much younger than you doesn't understand what they're feeling, but in this instance, I think Scarlett fully understands, which made this segment so exciting!

Of course, Rebecca trying to dismiss this whole thing is also a matter of convenience. She's with Amber, and having Scarlett reciprocate those feelings that Rebecca doesn't want to admit she has for Scarlett would certainly complicate things with Amber.

And yeah, we know that Rebecca feels that way. It was clear throughout S2 (and hinted at from the start, like I pointed out above), but this line pretty much confirms it:

Rebecca blinked. Her whole body felt hot. She curled inward slightly, caught between confusion and something she didn’t want to name. A yearning she wasn’t ready to address. A disappointment she didn’t want to acknowledge.

I have a feeling that the day when Scarlett's feet don't gross her out isn't too far in the future. The question now is what this means for the three girls, both as individuals and as a group.

You teased in your response to my S2 review that it could be something unique to mixed-sized relationships, as opposed to the love triangle or three-way relationship most people are predicting. That's really interesting, because I'm not sure what that means. The only thing I can think of is that they might end up sharing Rebecca, which could be super fun! I could see the two girls deciding this without consulting Rebecca, because, by that point, they both know that she would not only want that but be driven wild by being treated that way (the only way I could see Scarlett agreeing to do that).

But again, that could just be wishful thinking on my part. In fact, I'm pretty sure what actually transpires is going to be a lot more dramatic and tense than that!

Speaking of Amber possibly sharing Rebecca, that sure was a possessive way to end the segment and chapter, wasn't it? Rebecca getting hot and bothered by Scarlett's wet dream (I think we all know who she was thinking about) was pretty hot, but the shock of seeing Amber looking down at her was great! And I don't think it was a coincidence that Amber chose that moment to start the master-slave stuff back up (although maybe they've been doing it in the bedroom this whole time and just not doing it in the real world? I don't know).

But yeah, it seems likely to me that Amber caught Rebecca looking and used her role as master to remind Rebecca of who owned her and how much the tiny woman loved being owned by such a dominant goddess. That look that was a blend of reverence and cruelty was interesting, and I think that was a combination of her showing her love for Rebecca and that she was upset that her girl was looking at someone else like that.

Still, even with Amber being so dominant here, she waited until she got consent from Rebecca before lowering her toward her womanhood. A "Yes, master" is still a yes. That's a change from the limo scene, so it's good to see that Amber is still backing off from forcing her will entirely upon Rebecca like that. And Rebecca ... well, she had a good time for sure!  I did, too! That scene was really fucking hot!

And those last lines about Scarlett were the perfect way to bring the chapter home. Knowing that Rebecca's cries of pleasure were echoing in Scarlett's erotic dreams brought a smile to my face.

The poor girl needs a win too! I didn't realize she had gone through a bad breakup (I'm assuming she was dating a tiny, given her sexuality). I almost forgot to mention that. Yeah, the other stuff in her bad year, the move and the Verdanne rejection, sucked too, but knowing that Scarlett was still hurting from the end of a relationship makes me want to root for her even more. I'd even venture a guess that such heartbreak helped her realize that epiphany about love and Rebecca!

And The Kingdom of Helena?! But ... but I thought the kingdoms weren't a thing. That they were a lie. You said! Don't you fucking tease me! Woooooo!

Er, um, yeah, I'll be eagerly anticipating the next chapter on Monday.

Author's Response:

"I also thought Rebecca saying that she won't do something similar 'next time' was interesting. Would she really consider doing another pageant? I guess, despite everything, maybe part of her enjoyed the experience (or maybe just the ovation she got during the People's Princess competition)."

I think it was more along the lines of her thinking: that next time she senses trouble, she won’t push her luck so far. But hey, I’ve been getting a lot of positive feedback on the pageant… so who knows? Maybe Rebecca will be forced into another one somewhere down the line :D

 

"I was hoping that Scarlett would realize what Rebecca did for her, but this was so much more than that. Scarlett, through this revelation, realized that her whole understanding of love all this time had been completely wrong. It was laid out so nicely when she thought about how love wasn't about gestures, words, or gifts: Those things are about attention. Real love isn't about that at all!"

I love seeing that this is how it landed for you! And I totally smiled when you mentioned in your last review that you hoped Scarlett would recognize Rebecca’s sacrifice. I really tried to make this more than a romantic beat, I wanted it to feel like a coming-of-age moment that supercharged the emotional impact. Scarlett got hit with a double dose of Rebecca: a life lesson and a romantic awakening, all at once. It created a rare moment of clarity for our towering teen. One you cant forget… even if you try.

 

"That's such a deep, thoughtful concept for Scarlett to grasp, and referring to it as 'the edges of childhood starting to wear away' was a perfect way to describe it. Because this wasn't some youthful infatuation or a false feeling of love caused by Rebecca doing something nice for her; it was a realization of how Rebecca really feels about her and understanding her own feelings at the same time. Because we already saw hints of Scarlett liking Rebecca back when they first met: Scarlett's intense nerves when they first talked, her shock and appreciation for Rebecca covering for her little masturbatory session at Amber's desk, and Scarlett's own microsexualism, not to mention Rebecca stepping up and helping her with that Verdanne application as mentioned back in S1, as well as how invested Scarlett became in Rebecca's pageant efforts in S1 and S2."

Yes! I love when all these earlier threads get noticed and called out like this. Scarlett’s been carrying that fascination for Rebecca since day one, even before they met, honestly. Rebecca was already trying to soften Amber’s view of her when her girlfriend was pissed at Scarlett’s earlier antics. And I especially liked seeing you bring up things like the Verdanne application, those small, tender gestures that quietly built up to this larger shift. They were laying track for something bigger, and now it’s starting to move.

 

"But I really like how you inserted Rebecca pushing her own feelings aside and dismissing Scarlett as 'a kid, swept up in something tender and impulsive, caught in the magic of the day.' Because Scarlett's part of the narrative made very clear that this wasn't what was happening with her. It makes sense that Rebecca would take it this way, though. It's sometimes easy to forget that she's, what, 32? It's easy sometimes to think someone so much younger than you doesn't understand what they're feeling, but in this instance, I think Scarlett fully understands, which made this segment so exciting!"

This is exactly why I love writing this story in omniscient third! The freedom to leap between perspectives gives you this amazing ability to create drama from the dissonance between what characters believe versus what’s actually happening. We know Scarlett is being sincere, but Rebecca brushes it off, assuming she’s just caught up in the emotion of the moment. And yes… Rebecca is 31! Which makes that kind of internal dismissal even more believable, and also a little exciting.

 

"I have a feeling that the day when Scarlett's feet don't gross her out isn't too far in the future. The question now is what this means for the three girls, both as individuals and as a group."

Haha, I love that you still remember that little detail! Let’s just say... you might be onto something. And yeah, that’s the big looming question now… how do these feelings evolve with all three of them tangled together? Amber’s deeply possessive, and while Donnica managed to share Trevor with Annabel, that came from a completely different kind of power dynamic, one rooted in hierarchy and worship. Amber and Scarlett don’t have that framework. So how will it play out? I’m really looking forward to finding out!

 

"Speaking of Amber possibly sharing Rebecca, that sure was a possessive way to end the segment and chapter, wasn't it? Rebecca getting hot and bothered by Scarlett's wet dream (I think we all know who she was thinking about) was pretty hot, but the shock of seeing Amber looking down at her was great! And I don't think it was a coincidence that Amber chose that moment to start the master-slave stuff back up (although maybe they've been doing it in the bedroom this whole time and just not doing it in the real world? I don't know)."

Yes! I wanted to leave that open on purpose, so I love that you’re theorizing. Did Amber see Rebecca sneaking a glance? Or did she just sense something had shifted? Maybe she didn’t witness anything directly but still picked up on the tension, the body language, the energy. And sometimes that’s enough for a possessive girl like Amber. Or maybe… she just woke up horny >:)

 

"Still, even with Amber being so dominant here, she waited until she got consent from Rebecca before lowering her toward her womanhood. A 'Yes, master' is still a yes. That's a change from the limo scene, so it's good to see that Amber is still backing off from forcing her will entirely upon Rebecca like that. And Rebecca ... well, she had a good time for sure! I did, too! That scene was really fucking hot!"

Thank you!! I was a little worried after the emotional high of S2 that people might not have the energy for a steamy scene in S3, but god, this one was so hot to write. It’s been a while since we’ve had a pure intimate moment between Amber and Rebecca, so I wanted to show them in their natural element again. And yeah, the master/slave dynamic still exists… it just mostly stays in the bedroom now. But Amber’s deeper possessiveness? That’s always simmering under the surface.

 

"The poor girl needs a win too! I didn't realize she had gone through a bad breakup (I'm assuming she was dating a tiny, given her sexuality). I almost forgot to mention that. Yeah, the other stuff in her bad year, the move and the Verdanne rejection, sucked too, but knowing that Scarlett was still hurting from the end of a relationship makes me want to root for her even more. I'd even venture a guess that such heartbreak helped her realize that epiphany about love and Rebecca!"

Exactly… there’s a lot going on beneath Scarlett’s surface, and I’m excited to start rolling that out more now. She’s got her own past, her own baggage, and maybe even some things that’ll surprise people. I’m really looking forward to weaving her more tightly into the narrative moving forward.

 

"And The Kingdom of Helena?! But ... but I thought the kingdoms weren't a thing. That they were a lie. You said! Don't you fucking tease me! Woooooo!
Er, um, yeah, I'll be eagerly anticipating the next chapter on Monday."

Oh noooo, I’ve said too much! Forget I mentioned it… this “Kingdom” stuff? Probably just a name Helena uses for a wing of her estate or something. Nothing suspicious going on at all. Nope.

…Probably.

See ya tomorrow ;)

Reviewer: It Was Me Signed [Report This]
Date: July 19 2025 3:46 AM Title: PART 30

I love how naïve the girls were about this pageant. They assumed that it was a chance for tiny women to be seen, to be adored. And, to be fair, the crowd, at times, seemed to provide that adoration.

But from the very start of S2, it was apparent that this whole thing was designed by people with disdain for tinies. That teen stage director set the tone real quick! It was bad enough the way she singled out Rebecca, but that comment about their tiny brains was about as sizeist as they come.

So yeah, it wasn't a huge shock to me when the "queens" came out and it was revealed that nearly all the pageant's events were geared toward tiny subjugation. And I knew that Natasha plug in S1 was going to materialize in some way during the pageant. But for her to be over Rebecca the whole time? That added real tension to the entire segment.

Backing up a bit, though, I really enjoyed how nervous Rebecca was at the start of this, before she even got on stage. She's spent a lifetime hating and disregarding these pageants (or their participants, at least), so it was pretty cool to see her realize that this shit isn't easy. I mean, she was kind of proven right about the pageant queens themselves (except maybe the tiny ones), but to see her feel the full weight of something she had spent so much of her life demeaning and underestimating added some real depth to the segment.

It also obviously made her finding strength in seeing Scarlett's hopeful expression much more meaningful. Rebecca finding a sense of determination for being an example for Scarlett to follow wouldn't have meant as much if everything came easy and natural for the tiny princess. 

That theme throughout the segment, that Rebecca wanted to show Scarlett that when you get knocked down and it looks like all is lost you get back up and keep fighting, was so powerful, too! Rebecca faced so much more adversity than Scarlett did, having someone actively try to hold her back and humiliate her at every turn, and the prize waiting at the end was so much lesser, a meaningless crown versus the culmination of a lifelong dream.

But that was the point. That meaningless crown was actually more important, not for what it was, but for what it represented to Rebecca and Scarlett. While the crown itself means nothing to Rebecca, it would prove to Scarlett that hard work can pay off and that it's worth it to battle through adversity and keep faith. Rebecca was battling Natasha not for a crown or stupid pride: She was fighting to give Scarlett hope, while Natasha was fighting to feed her own petty ego.

I do hope Scarlett realizes at some point that Rebecca went through all that for her specifically. And I hope that Scarlett is inspired not by what Rebecca did or didn't accomplish but by Rebecca's shear force of will and refusal to give up, no matter how much humiliation and degradation she suffered.

Also, can we talk about how dedicated Rebecca was to Scarlett here? Yeah, I get that they're friends, but damn! Rebecca laid everything on the line because she cared so deeply for Scarlett. That strikes me as something a bit more than friendship, even if Rebecca doesn't realize it yet. And they do naturally have a lot in common, even if Scarlett doesn't seem to be broken like Rebecca (and Amber). Could this be the start of some love-triangle drama? Maybe that three-way relationship I keep accusing you of teasing me about? Possibly me reading into something that isn't there at all? Who knows (well, you know who knows)?

Okay, now for Natasha. She makes for such a great villain here! Because like all great villains, and yeah, I'm going full-blown cliché here, she's the hero of her own story. She's clearly a terrible person (we'll get into that in a second), and she was an entitled prick who treated everyone like shit even back when Rebecca and her were kids. But Natasha doesn't feel like any of that was wrong. All she cares about is that Rebecca not only stood against her, but challenged her openly in the halls of their school, embarrassing her in her own eyes.

So for Natasha, what she does to Rebecca isn't cruelty or spiteful: It's karma. Natasha feels as though she's owed this, that some twisted form of cosmic justice delivered her hated rival to her in the most vulnerable position imaginable. That's way more interesting than just being a bully for bullying's sake or hating tinies and picking on them. No, that warped sense of reality and even more deluded form of entitlement give Natasha her own distinct flavor.

But let's not get confused here. Yeah, Natasha is a great villain, but God is she (sorry, Helena) pathetic! It's bad enough that, more than a decade later, she's still trying to hang on to her former glory by being a 30-something pageant queen (although they don't even compete, so that's not even really earned anymore). When I read that part about 30 and 40 year olds marching out onto the pageant stage, I felt second-hand embarrassment for those fictional characters. That's just sad.

But Natasha is even worse. The fact that the other queens are afraid that Natasha might banish them from the circuit only shows that she's desperately clinging to what little power her pointless pageantry has left, likely because she's not accomplished much outside of it. In my mind, that was confirmed in her reaction to finding Rebeca on the stage.

When she said that she had been waiting a long time for this moment, that's what proved to me that she's done nothing since high school. She's so worthless a person that being defied by Rebecca is something she's been thinking about this whole time! The only reason Rebecca thought of Natasha at all was because they were at a pageant, but clearly Rebecca yelling at her in front of their peers (who all apparently loved her if they were fucking bowing to her) has been at the forefront of her mind for years! Just think of how empty, how hollow you have to be for something so minor to matter so much after so long. If that's not pathetic, I don't know what is. This is shades of (fuck) Victoria, for Christ's sake! And we've all seen how miserable that woman is!

On the other hand, though, Natasha does sound pretty hot. So scale balanced?

As for the things Natasha did during the pageant, they landed perfectly both from a narrative and a fetish-y standpoint! I felt so bad for Rebecca throughout the pageant as my hatred for Natasha grew. At the same time, it was so inspirational to see Rebecca keep getting up and fighting what she knew was a losing battle, because, again, something way more important was on the line!

From a fetish standpoint, not only did your decision to really focus on some of Natasha's antics and merely highlight others keep things fresh, but this whole thing hit a very unique note for me. I don't know if I've seen something like this before. Natasha is using her size to torment Rebecca in front of such a huge crowd, but none of them, including Rebecca's own loved ones, has a clue that it's happening. There's something about this that I found incredibly hot!

And your descriptions were, once again, exceptional, even for something that I don't particularly care for! You were never going to get me to find farts even mildly sexy (if you're reading this, sorry J-Vader!), but you did a hell of job selling how intense both of those farts were to Rebecca. For those that are into that, I can only imagine that they felt like they struck gold with that scene!

Even though I've already talked multiple times about Rebecca's perseverance, I still have to bring up the People's Princess bit. How incredibly well done! Natasha, tired of being even remotely subtle, straight up rips Rebecca's clothes, the ones they'd worked so hard on, and literally let Rebecca fall flat on her face on-stage. This was so bad (even though the crowd still didn't even seem to realize that Natasha was doing this to her) that nobody even mockingly laughed. They were all silent, and Scarlett looked like it was Verdanne all over again, but this time for Rebecca! That description of her looking like she desperately wanted to help someone she loved but was helpless to do so was perfect!

And then Rebecca fed off that, remembering why she was there, why she'd put herself through all this in the first place. And that gave her the strength to triumph. I also love how the crowd was undecided until they heard Amber and Scarlett. It was like the crowd realized that Rebecca had given something to those two girls, represented something much bigger than herself, and they wanted to be a part of it. Shit, even the stagehands wanted to be a part of it, and we saw how they feel about tinies. It was a thing of beauty!

Also, going back to just before all that, the way Natasha became infuriated at Rebecca's punk princess look was great! It added something more to her character. It wasn't just the hallway stuff that Natasha has hated all this time: It was what Rebecca represented. She hates that Rebecca was the opposite of her (to be fair, I feel like that's true the other way, too), and seeing that oppositional force in her world brought her anger to another level. I thought that was a nice touch for her character.

Oh, and while we're going back, let's head back to that question portion of the pageant. That was such a satisfying moment! Natasha thought she mocking Rebecca by all but openly saying that this was her revenge, and Rebecca not only didn't take the bait, but embarrassed her! Her answer about power was perfect and shows why people like Natasha are fucking awful (hot though they may be!). And I loved the fact that people in the crowd and backstage, all giants, could actually relate to it. Because it's easy to forget that in this world of giants and tinies, the giants are only larger than life to the smaller ones. They still have all the shit problems we have here in the real world, and everyone feels belittled at some point. For that one moment, maybe, just maybe, some of those careless giants felt a fraction of what their tiny counterparts feel, a small wave of empathy washing over them.

And Rebecca turning the "not very princesslike" line around on Natasha like that was fucking gold!

I shouldn't have been surprised that Natasha would have one of those illegal registration scanners you mentioned back in what, chapter 27 (see, you took the time to worldbuild, so I remembered!), given the pageant atmosphere for tinies. But again, her being so bitter that she rushed off the stage early and had to immediately check Rebecca's status like that is just so petty and, dare I say, pathetic. She was so bitter that her last act of sabotage didn't work, despite making sure Rebecca would never win the crown, that she had to make sure she got her next layer of revenge another way. And giving Rebecca away to her kids? Damn, that's just cruel.

But that dark moment (because pockets! Wooooo!) only served to make Rebecca's rescue all the sweeter! I wondered how far Natasha would get before Amber and Scarlett would track her down. And with the way Natasha swiped Rebecca off the stage, I'm sure they realized something was wrong right away.

I loved the anger from the girls once they cornered Natasha. They weren't in the mood for any of her shit! Scarlett wanting to call the cops on her was really sweet, but, given the environment in the city because of Donnica, I doubt it would have amounted to much. I was hoping the girls would beat Natasha's ass, but scaring her off (and that princesslike line not working on them at all) was still pretty awesome!

Of course, seeing how Amber handles people who mistreat her precious Rebecca, I can't imagine this is over. I don't know how well off Natasha is (that bit about rushing to the pageant and dealing with her kids gave me the impression that she was just a normal mom with an otherwise pathetic life, given her attitude and bitterness), but Donnica has a lot of influence in the city. I'm sure Amber could find a way to piggyback off that. Or maybe that's just wishful thinking on my part.

Anyway, yeah, fantastic segment! That promised cruelty was there, but it had a very important purpose, and it was entertaining and hot anyway! I'm looking forward to seeing how you close this chapter out in S3!

Author's Response:

"Backing up a bit, though, I really enjoyed how nervous Rebecca was at the start of this, before she even got on stage. She's spent a lifetime hating and disregarding these pageants (or their participants, at least), so it was pretty cool to see her realize that this shit isn't easy. I mean, she was kind of proven right about the pageant queens themselves (except maybe the tiny ones), but to see her feel the full weight of something she had spent so much of her life demeaning and underestimating added some real depth to the segment."

I love this insight. It was an angle I never fully got to develop, but I’m so glad it still shone through. There’s nothing inherently wrong with being passionate about pageantry… it was just never Rebecca’s thing. As a teen, she aligned herself against it. You’re totally right: this segment became a learning moment for her, having to face firsthand the very world she once dismissed.

 

"But that was the point. That meaningless crown was actually more important, not for what it was, but for what it represented to Rebecca and Scarlett. While the crown itself means nothing to Rebecca, it would prove to Scarlett that hard work can pay off and that it's worth it to battle through adversity and keep faith. Rebecca was battling Natasha not for a crown or stupid pride: She was fighting to give Scarlett hope, while Natasha was fighting to feed her own petty ego."

Yes, this was the soul of the segment, maybe even the entire chapter. Once I reached the end of S1 and saw the emotional weight of Scarlett’s rejection, paired with Rebecca’s resilience, it hit me that this was what the chapter had to be about. Everything from that point on had to reinforce it. Rebecca had to spot Scarlett the second she stepped onto the stage. She had to dig deep and find the kind of resolve that can only be born from love and empathy. Otherwise, nothing that came after would’ve felt earned.

 

"Also, can we talk about how dedicated Rebecca was to Scarlett here? Yeah, I get that they're friends, but damn! Rebecca laid everything on the line because she cared so deeply for Scarlett. That strikes me as something a bit more than friendship, even if Rebecca doesn't realize it yet. And they do naturally have a lot in common, even if Scarlett doesn't seem to be broken like Rebecca (and Amber). Could this be the start of some love-triangle drama? Maybe that three-way relationship I keep accusing you of teasing me about? Possibly me reading into something that isn't there at all? Who knows (well, you know who knows)?"

Something is definitely brewing. Is it a triangle? A three-way? Or maybe something even more mixed-size specific? All I’ll say for now is... you’re not wrong to be suspicious. And you might just get your first taste of it in the next segment ;)

 

"So for Natasha, what she does to Rebecca isn't cruelty or spiteful: It's karma. Natasha feels as though she's owed this, that some twisted form of cosmic justice delivered her hated rival to her in the most vulnerable position imaginable. That's way more interesting than just being a bully for bullying's sake or hating tinies and picking on them. No, that warped sense of reality and even more deluded form of entitlement give Natasha her own distinct flavor.
But let's not get confused here. Yeah, Natasha is a great villain, but God is she (sorry, Helena) pathetic! It's bad enough that, more than a decade later, she's still trying to hang on to her former glory by being a 30-something pageant queen (although they don't even compete, so that's not even really earned anymore). When I read that part about 30 and 40 year olds marching out onto the pageant stage, I felt second-hand embarrassment for those fictional characters. That's just sad."

I love this take, it’s exactly what I was going for. The best villains always have a warped internal logic, and Natasha’s is just soaked in childhood bitterness and long-festering resentment. You can feel that purpose behind her cruelty, that petty wound that never healed.

And yeah, totally agree… she’s deeply pathetic. Thirty-one years old, still dressing up to relive the glory days, bullying tiny women in costume. The secondhand embarrassment is real! Honestly, I laughed out loud reading your reaction about the Queens, it’s the highest praise for how well the scene landed.

Also... you know you're a truly terrible person when readers start comparing you to Victoria. Yikes.

 

"On the other hand, though, Natasha does sound pretty hot. So scale balanced?"

Ahhh yes... the eternal tradeoff. Cruel, petty, delusional... but hot. Balance restored!

 

"From a fetish standpoint, not only did your decision to really focus on some of Natasha's antics and merely highlight others keep things fresh, but this whole thing hit a very unique note for me. I don't know if I've seen something like this before. Natasha is using her size to torment Rebecca in front of such a huge crowd, but none of them, including Rebecca's own loved ones, has a clue that it's happening. There's something about this that I found incredibly hot!"

It’s wild… while I was writing this segment, I genuinely wasn’t sure if any of it would work. I’d never done anything quite like this before, and being in brand new size-play territory, I kept second-guessing everything. Would Rebecca’s motivation be believable? Would the audience pick up on the subtle cruelty without it being too obvious? It was a complete experiment, and honestly, I had no idea how it would land.

And yeah, the way I chose to spotlight some of Natasha’s antics while leaving others in the background… that was a juggling act in itself. At the time, I didn’t know if the pacing was hitting right or if the whole thing just felt like a messy, untested blob. It’s a long segment, and I spent days fine-tuning it... only to come out the other end feeling like I had no idea what I’d made.

But the feedback’s is making me think maybe I pulled it off after all… at least a little :)

 

"And your descriptions were, once again, exceptional, even for something that I don't particularly care for! You were never going to get me to find farts even mildly sexy (if you're reading this, sorry J-Vader!), but you did a hell of job selling how intense both of those farts were to Rebecca. For those that are into that, I can only imagine that they felt like they struck gold with that scene!"

Haha man, I’ve gotten so much feedback on that fart. And I’ll be honest, while I’m not into fart stuff myself (despite my undying love of ass), the sheer humiliation of it all really got me going.

Writing this story has expanded my sexuality in some weird and wonderful ways. I’m into stuff I never imagined I would be. Vore? Buttplay? Apparently writing pushes your limits more than reading ever could.

 

"Even though I've already talked multiple times about Rebecca's perseverance, I still have to bring up the People's Princess bit. How incredibly well done! Natasha, tired of being even remotely subtle, straight up rips Rebecca's clothes, the ones they'd worked so hard on, and literally let Rebecca fall flat on her face on-stage. This was so bad (even though the crowd still didn't even seem to realize that Natasha was doing this to her) that nobody even mockingly laughed. They were all silent, and Scarlett looked like it was Verdanne all over again, but this time for Rebecca! That description of her looking like she desperately wanted to help someone she loved but was helpless to do so was perfect!"

I’m so happy you called out the People's Princess moment, it was the emotional peak of the segment and honestly one of my favorite things I’ve written all chapter. Writing that fall, the silence, the heartbreak on Scarlett’s face... it stirred something.

And that inner monologue from Rebecca (telling herself why she had to get back up, what she was fighting for) it’s the kind of soul-stirring stuff that makes writing this feel like more than just fetish fiction. It’s a silly kink story, sure, but for a moment there and what it meant? I dunno, I really loved writing it.

 

"Also, going back to just before all that, the way Natasha became infuriated at Rebecca's punk princess look was great! It added something more to her character. It wasn't just the hallway stuff that Natasha has hated all this time: It was what Rebecca represented. She hates that Rebecca was the opposite of her (to be fair, I feel like that's true the other way, too), and seeing that oppositional force in her world brought her anger to another level. I thought that was a nice touch for her character."

I love that you caught that… and you’re right, it does go both ways. Someone else pointed out that Rebecca admitted in earlier chapters she used to tear into Natasha with her sharp tongue. So yeah, Rebecca probably left some scars of her own.

That said, I think Natasha was overwhelmingly the aggressor back in the day. Still, it's not hard to imagine young Rebecca throwing verbal grenades and maybe going a little overboard if she felt cornered. It’s part of what makes her character so interesting.

 

"Oh, and while we're going back, let's head back to that question portion of the pageant. That was such a satisfying moment! Natasha thought she mocking Rebecca by all but openly saying that this was her revenge, and Rebecca not only didn't take the bait, but embarrassed her! Her answer about power was perfect and shows why people like Natasha are fucking awful (hot though they may be!). And I loved the fact that people in the crowd and backstage, all giants, could actually relate to it. Because it's easy to forget that in this world of giants and tinies, the giants are only larger than life to the smaller ones. They still have all the shit problems we have here in the real world, and everyone feels belittled at some point. For that one moment, maybe, just maybe, some of those careless giants felt a fraction of what their tiny counterparts feel, a small wave of empathy washing over them."

YES. This was the moment I knew I needed to give Rebecca a counterattack… and not a physical one (obviously) but something verbal, elegant, and razor-sharp. It helped put the entire confrontation in perspective, and yeah, it laid the groundwork for Natasha’s next escalation… the fart!

The “not very queenlike” line was a big aha moment for me too. I'm so glad it hit with you and others. It iced the exchange.

 

"I shouldn't have been surprised that Natasha would have one of those illegal registration scanners you mentioned back in what, chapter 27 (see, you took the time to worldbuild, so I remembered!), given the pageant atmosphere for tinies. But again, her being so bitter that she rushed off the stage early and had to immediately check Rebecca's status like that is just so petty and, dare I say, pathetic. She was so bitter that her last act of sabotage didn't work, despite making sure Rebecca would never win the crown, that she had to make sure she got her next layer of revenge another way. And giving Rebecca away to her kids? Damn, that's just cruel."

Damn, I better cool it on the worldbuilding… I’ve got readers making preemptive lore observations now! What’s next, citations and fan charts?

But yes, I loved that ending. A raw, fetishy size-play moment where, even after Rebecca triumphed emotionally, Natasha just picks her up like a trinket and plans to give her to her bratty kids. It undercuts the neat narrative arc in the cruelest, kinkiest way.

But hey, Amber and Scarlett saved the day anyway! So... happy ending? Right?

 

"I loved the anger from the girls once they cornered Natasha. They weren't in the mood for any of her shit! Scarlett wanting to call the cops on her was really sweet, but, given the environment in the city because of Donnica, I doubt it would have amounted to much. I was hoping the girls would beat Natasha's ass, but scaring her off (and that princesslike line not working on them at all) was still pretty awesome!"

Watching Natasha fold the second she faced real resistance was the cherry on top for her character. From teenagers, no less. And she just picks up her dress and runs. There's something deeply sexy to me about pathetic giantesses who use their size to bully others. It’s also fun to see them run though haha

And yeah… ending it with one last “not very princesslike” felt like the perfect way to exist the character.

 

"Anyway, yeah, fantastic segment! That promised cruelty was there, but it had a very important purpose, and it was entertaining and hot anyway! I'm looking forward to seeing how you close this chapter out in S3!"

This segment was huge… definitely one of the longer ones in the whole story. It went in new directions both emotionally and kink-wise, and opened the world up in some major ways. The feedback on Natasha has been amazing, so hey... maybe we haven’t seen the last of her.

Can’t wait to hear your thoughts on S3! It’s the shortest of the three, but I really think it packs a punch!

Reviewer: It Was Me Signed [Report This]
Date: July 17 2025 10:38 PM Title: PART 30

So I just read S1, and before I say anything else, I just want to commend you on writing up that soccer sequence. Soccer isn't a sport I watch a lot, but you not only made that sequence during the game easy to follow, but it was incredibly thrilling as well! I could the excitement that can only come from that big game feel radiating off of word! You also did a great job of selling that underdog vibe with Amber and Scarlett's team, building up Wesford Hall as a really big deal in a very short amount of time.

By the time Amber scored that game-winner, it felt like she had just accomplished the impossible. And in a story like this, where we pretty much know that's going to happen (because we all expected/wanted to see Rebecca in a pageant environment from the second Scarlett brought it up), that's really tough to do.

So yeah, awesome job here. I love all the attention paid to such a fun part of the chapter, even though it really doesn't add any fetish value to it. Things like this are what make this story so rich and easy to invest in!

You know, we've talked before about what makes for a great gentle scene, and this whole segment is a great example of that, and in the subtlest of ways, too.

When Scarlett first suggested that Rebecca take part in the pageant, the two giant teens begged Rebecca to say yes. Begged. An inch-high woman. I loved that so much. Their pleas were thunderous to little Rebecca, a power that could easily force her to become a pageant princess pounding her through body with their voices alone. There's something special about them asking her something in such a sweet, innocent way while at the same time deafening her through sheer size and power alone.

It's part of that whole restrained power thing I mentioned before. They love and respect Rebecca enough that they wouldn't dream of forcing this on her, but they so very easily could if they wanted to. Hell, I half-expected Amber to throw out a "Master says yes" just to see if it would work. She seems to have pulled back on that quite a bit since the fight over Naomi, though, and I'm not really sure how Scarlett would respond to that.

But on Rebecca's part, I love that she didn't feel forced because of their size but rather because she knew their ceaseless cute begging would wear her down eventually. It also makes sense that she would hate the idea of doing a pageant, as that lines up perfectly with what we already know about her past. The girls' reasoning for wanting her to do it was pretty flattering, though, saying that she that she's amazing enough to win even at something as ridiculous as that and that they just wanted to show the world how gorgeous she is (that's a pretty bold thing for Scarlett to say in front of Rebecca's girlfriend, now isn't it? Don't you get my hopes up for another three-way relationship, dammit!).

The bet was a great way for Rebecca to try to get out of the whole thing, and, again, you did a fantastic job of selling just how much of an uphill battle this would be for our two towering teens. That Amber rose to a higher level to get the job done was compelling enough, but for the two of them to look back at Rebecca as they were still celebrating, making it pretty clear that they were more excited about her becoming a pageant princess than their athletic accomplishments themselves was both sweet and another subtly gentle moment.

Again, and I can't emphasize this enough, they could easily make Rebecca do this. Or anything, really. So not only did they agree to a bet that it looked like they had no chance of winning, but they busted their asses and upped their game, upsetting a huge favorite, all just to fairly get Rebecca to do the thing they wanted her to, to do things on her terms instead of theirs, shows a deep level of care, love, and even devotion for Rebecca, without even saying a word. It was an incredible moment, even if Rebecca would disagree! 

And by the way, I really enjoyed Rebecca getting lost in the moment and losing her mind cheering for her girlfriend before the reality of the situation kicked in. She should be happy that Amber pulled off such an amazing play and won the game for her team, and a former player like her is going to focus on what's happening in-game first and foremost. So I appreciate that you acknowledged that before we saw her start to sulk.

I think Scarlett is going to end up being a good influence on Amber. The way Scarlett was quick to scold Amber when those shoes came off in the tiny dress story and apologized for and glare at her after the shop attendant reprimanded Amber reiterates just how pro-tiny Scarlett is. That contrasted well with Amber going back to her old ways a bit, thinking that being a giant means that she can do what she wants in the presence of tinies. Still, though, she wasn't being intentionally malicious here, I think. She just wanted to free her feet and simply didn't care about what the tinies thought about it.

I really think that, deep down, Amber knows tinies are people just like her and not lesser beings. That's why she got such a kick out of tormenting Trevor in the earlier days; it was the fact that one of her mom's boyfriends was small enough that she could fight back (preemptively, even) that drove that. She would've gotten bored with it pretty quick if she really believed what her mom believes. That's also the reason that she was able to build her relationship with Rebecca, even when they were at each other's throats. I'd even go so far as to say this is why we haven't seen Amber kill a tiny yet, even though her beliefs appear to sometimes drift in the direction of people who do that shit regularly. It's just that, between the influences of her old friends (like Sara) and her mother, that simple truth has gotten buried deep inside her, letting her embrace some of those primal instincts that she knows she needs to rein in (which is why she asked why she does bad things to Rebecca a few chapters ago during that Naomi fight).

So having someone like Scarlett around, someone who really cares about her and actually spends time with her (and isn't an inch tall; sorry, Rebecca!), I think will keep Amber in check and even help draw out the part of Amber that doesn't think of tinies as inferior.

At the same time, though, don't think I didn't notice that Scarlett stopped complaining when Amber started gently dominating Rebecca like that. Granted I think she would have stepped in if Rebecca had acted grossed out by Amber's foot or didn't look like she was into it. But clearly, Rebecca was into it, and while we didn't get a look inside Scarlett's head in that particular moment, my mind went back to that video Scarlett was watching on her phone when she first "met' Rebecca. I'm pretty sure Scarlett went quiet because she was into what she was seeing, especially given her "condition." It seems Scarlett enjoys watching these two in their natural environment, so to speak.

Again I say, stop teasing me! I'm really starting to build up hope that we're going to see Amber and Rebecca welcome a third member into their relationship.

Speaking of Scarlett, much like the soccer match stuff, you did a hell of a job making Verdanne a big deal and then taking it away, all in one segment. I figured we'd hear more about the college after it was first mentioned, but damn, I didn't expect it to be that quick or that decisive in the outcome. But like Rebecca said, it certainly helped explain why she went all drill sergeant on Rebecca like that. This pageant became her focus, her distraction, something for Scarlett to throw all her energy into and not have to worry about being rejected from her dream school and feeling like everything she spent the past four years working toward was lost. That was a nice little mini-twist.

But aside from that revelation, I loved the contrast between Amber and Scarlett throughout the prep scenes. Scarlett was dialed in, doing research on which stores to go to, being meticulous with having Rebecca try things on, buying everything and relentlessly having Rebecca try every possible combination, and drilling the tiny on every event she would see at the pageant. By contrast, Amber mostly relaxed and complained, poking her head into the process here and there, but mostly keeping her face buried in her phone.

And that's the difference between them, probably the reason Scarlett will be playing soccer somewhere at the next level and Amber won't. They both worked hard to get Rebecca to go along with this, but Amber wants to enjoy it now and have some fun. Scarlett is focused on winning, though, and she's willing to put in the work to do so, as well as demand the same from those around her. Scarlett's fun comes from the real win, in this case Rebecca at the pageant. Getting Rebecca to do it was just the first step.

And again, I know Scarlett had extra motivation because of her rejection, but Amber pointed out that this is how Scarlett was on the soccer field all the time. So Scarlett's intense drive and Amber's lazier mentality after accomplishing the initial goal really stuck out to me here. I think there's merit to both approaches (Scarlett's work ethic is going to pay off more times than not, but if you don't take it easy once in while like Amber, you can miss out on a lot of fun along the way), but I love their opposing approaches here.

But back to Scarlett being rejected, I was so happy with Rebecca's response. She could have easily gotten out of the pageant after the girls saw how serious the whole thing actually was and how the other giants there didn't seem to care about fun (or very much for their tinies, for that matter) like they did. But Rebecca recognized that Scarlett needed a win, and she was willing to put herself through this nonsense to give it to her. That's dedication. That's friendship. That's ... maybe something more?

Oh, and as I've been praising the nuanced gentleness of this segment, I'd be remiss if I didn't bring up how adorable it was when Rebecca took control and bossed the two bigs around at the end there. The way Scarlett and Amber jumped at that "NOW!" was cute and empowering, and to see them scramble to follow Rebecca's orders, a complete flip on how every other tiny-giant dynamic backstage, was so gratifying to read.

The pageant itself should be interesting. If I had to venture a guess, based on the way you handled the Verdanne and Wesford stuff, I'm guessing that Natasha is going to show up in some way, shape, or form before the end of the chapter. It just seems too coincidental that Rebecca would think about her and that we'd get a bit of backstory on her without seeing her in a pageant environment.

Author's Response:

"So I just read S1, and before I say anything else, I just want to commend you on writing up that soccer sequence. Soccer isn't a sport I watch a lot, but you not only made that sequence during the game easy to follow, but it was incredibly thrilling as well! I could the excitement that can only come from that big game feel radiating off of word! You also did a great job of selling that underdog vibe with Amber and Scarlett's team, building up Wesford Hall as a really big deal in a very short amount of time."

Oh man, thank you for saying that! I debated for a long time whether to trim that section down. I wasn’t sure how many of my readers were into sports, and I worried the pacing might drag. But any time I tried to shorten it, it just didn’t work… the scene needed space to breathe and build. I put a ton of work into the flow, so hearing it came across as clear and thrilling (especially for someone not into soccer!) really means a lot. It took a lot of rewrites to get there.

I always get nervous adding non-fetish content, especially something as extended as a sports sequence, but it felt like a genuine part of the story. It helped bring out the character in all three girls, so I’m really glad I stuck with it… and even more glad to hear it landed for you!

 

"It's part of that whole restrained power thing I mentioned before. They love and respect Rebecca enough that they wouldn't dream of forcing this on her, but they so very easily could if they wanted to. Hell, I half-expected Amber to throw out a 'Master says yes' just to see if it would work. She seems to have pulled back on that quite a bit since the fight over Naomi, though, and I'm not really sure how Scarlett would respond to that."

Yes! I’m really glad you brought this up, because you’re right, Amber could have pulled the “Master says yes” card, but she didn’t. And that’s exactly because of the Naomi fight.

Remember when we talked about not over-explaining things? About letting readers feel the shift instead of spelling it out? That’s what I was trying to do here. Back in Chapter 27, I almost added a line like “something changed in their dynamic,” but it felt clunky and forced. Instead, I wanted that change to come through naturally. Rebecca took some ground back. She stood firm. And Amber (despite the possessiveness that still lingers) pulled back.

It’s not gone, of course. That “Master” is still in Amber’s blood. But I love how fluid and complicated it’s all become.

 

"The bet was a great way for Rebecca to try to get out of the whole thing, and, again, you did a fantastic job of selling just how much of an uphill battle this would be for our two towering teens. That Amber rose to a higher level to get the job done was compelling enough, but for the two of them to look back at Rebecca as they were still celebrating, making it pretty clear that they were more excited about her becoming a pageant princess than their athletic accomplishments themselves was both sweet and another subtly gentle moment."

Oh man, thank you for this! Once again, I thought about skipping the entire sports sequence and just starting the chapter with them all agreeing to enter the pageant. But that just didn’t feel earned. It didn’t feel like Rebecca. As you mentioned elsewhere… pageants are so not her.

The bet gave it emotional stakes. It allowed the arc to start with some weight behind it and it gave Rebecca a clear reason for entering the pageant. Also, I don’t know if you caught it, but I loved slipping in that “tiny mob boss” line for Rebecca. It just fit her energy in that moment, and I cracked up writing it.

 

"Again, and I can't emphasize this enough, they could easily make Rebecca do this. Or anything, really. So not only did they agree to a bet that it looked like they had no chance of winning, but they busted their asses and upped their game, upsetting a huge favorite, all just to fairly get Rebecca to do the thing they wanted her to, to do things on her terms instead of theirs, shows a deep level of care, love, and even devotion for Rebecca, without even saying a word. It was an incredible moment, even if Rebecca would disagree!"

This is exactly what I was aiming for. Rebecca ended up doing something she claimed to hate, but the way it happened mattered. The teens rose to the occasion, and Rebecca was the one who put them there. That’s its own kind of victory.

It might have been an athletic, high stakes bet, but there was a softness underneath. At least, that’s how it felt when I was writing it (Damn… the gentle stuff is getting to me!)

 

"And by the way, I really enjoyed Rebecca getting lost in the moment and losing her mind cheering for her girlfriend before the reality of the situation kicked in. She should be happy that Amber pulled off such an amazing play and won the game for her team, and a former player like her is going to focus on what's happening in-game first and foremost. So I appreciate that you acknowledged that before we saw her start to sulk."

Yessss. I’m so glad you noticed that! I added that moment the DAY BEFORE RELEASE. Reading it a final time before publish, the scene felt off… Amber scores, and Rebecca immediately groans. It didn’t work.

I realized it was missing a beat of honesty. Of heart. Of course Rebecca would cheer first. Of course the ex-player in her would get swept up in that goal. Scored by her giant girlfriend. Once I added that moment of raw celebration before the dread kicked in, everything snapped into place.

 

"So having someone like Scarlett around, someone who really cares about her and actually spends time with her (and isn't an inch tall; sorry, Rebecca!), I think will keep Amber in check and even help draw out the part of Amber that doesn't think of tinies as inferior."

Yeah, things have shifted a lot for Amber lately. First, she and Rebecca grew close. Then she had that hard break from her old “friends” after the confrontation with Sara. Now she’s building something new with Scarlett.

But still, she was raised by Donnica. And she’s still (at least a little) possessive of Rebecca. So yeah, all these forces are pulling on her at once. She wants to be good. And I agree with you… deep down, she is a good kid. But she’s still a teenager. Still forging who she is. And that’s a messy process.

 

"At the same time, though, don't think I didn't notice that Scarlett stopped complaining when Amber started gently dominating Rebecca like that. Granted I think she would have stepped in if Rebecca had acted grossed out by Amber's foot or didn't look like she was into it. But clearly, Rebecca was into it, and while we didn't get a look inside Scarlett's head in that particular moment, my mind went back to that video Scarlett was watching on her phone when she first "met' Rebecca. I'm pretty sure Scarlett went quiet because she was into what she was seeing, especially given her "condition." It seems Scarlett enjoys watching these two in their natural environment, so to speak."

Ahh, you caught that, huh? Yeah… she went quiet.

Was she just giving the couple space? Not her business? Or was something else going on behind those sharp, observant eyes?

Guess we’ll find out ;)

 

"Speaking of Scarlett, much like the soccer match stuff, you did a hell of a job making Verdanne a big deal and then taking it away, all in one segment. I figured we'd hear more about the college after it was first mentioned, but damn, I didn't expect it to be that quick or that decisive in the outcome. But like Rebecca said, it certainly helped explain why she went all drill sergeant on Rebecca like that. This pageant became her focus, her distraction, something for Scarlett to throw all her energy into and not have to worry about being rejected from her dream school and feeling like everything she spent the past four years working toward was lost. That was a nice little mini-twist."

Ah yes… story time on the adventures of pantsing:

Originally, the girls were just going to be intimidated by the pageant and want to bail (there was no Verdanne rejection) and Rebecca was going to push them to stay because they’d already come so far.

But that felt hollow. It didn’t feel like enough.

At the same time, I felt like Scarlett was too intense during the prep, like, when I went back and re-read it, she kind of felt just a tad bit out of character.

Then I had one of those “aha” moments.

What if Scarlett had just faced her own heartbreak?

Soccer… next-level play… university… rejection!

It all clicked.

I went back and added that Verdanne part at the start of the segment with that ad for the pageant, and boom… it all came together. Suddenly her intensity during the prep made sense and the pageant suddenly had MUCH higher stakes.

 

"And again, I know Scarlett had extra motivation because of her rejection, but Amber pointed out that this is how Scarlett was on the soccer field all the time. So Scarlett's intense drive and Amber's lazier mentality after accomplishing the initial goal really stuck out to me here. I think there's merit to both approaches (Scarlett's work ethic is going to pay off more times than not, but if you don't take it easy once in while like Amber, you can miss out on a lot of fun along the way), but I love their opposing approaches here."

Yeah, just jumping back, that was definitely the goal with this segment... I really wanted to show Scarlett’s personality by contrasting her against Amber’s. She was always going to be the full-on drill sergeant, that part never changed. But at the same time, she’s got a soft spot for tinies, so I started to wonder if maybe I’d pushed her too far during the pageant prep. Then the Verdanne rejection clicked into place, and suddenly it all made sense. It gave her edge a reason, gave her drive some heartbreak behind it. Felt like it rounded her (and the segment) out perfectly.

At least... that’s what I was going for!

 

"Oh, and as I've been praising the nuanced gentleness of this segment, I'd be remiss if I didn't bring up how adorable it was when Rebecca took control and bossed the two bigs around at the end there. The way Scarlett and Amber jumped at that "NOW!" was cute and empowering, and to see them scramble to follow Rebecca's orders, a complete flip on how every other tiny-giant dynamic backstage, was so gratifying to read."

Haha YESSS. I love that moment. Especially when Rebecca slams her little foot right before yelling “NOW!” She’s always putting others first, even at her own expense. And I knew you’d appreciate the power flip, especially after our talk about restraint in gentle scenes.

 

So glad you enjoyed this stretch of the story. Soccer, pageants, gentle moments... it’s been a ride. But the real excitement? Oh, that’s just about to begin in segment 2 ;)

Reviewer: GiantessLover21 Signed [Report This]
Date: July 14 2025 11:41 PM Title: PART 30

What an incredible chapter. I don't expect any of that to happen. I can't wait to go deeper with the longer review. Thank you for this chapter, and congratulations on another milestone: 30 chapters. What a journey since this dinner with Donnica, Trevor, and Amber! 

Author's Response:

Yes wow! It's been a crazy ride starting all the way back in chapter 1 at dinner with Trevor, Amber and Donnica! 

I had no idea I would write this much back then. I'm glad you are still enjoying the story and there is plenty more to come :)

Thanks for the review and of course I always look forward to your more in-depth analysis!

Reviewer: GiantessLover21 Signed [Report This]
Date: July 11 2025 8:19 PM Title: PART 29

Another fantastic chapter! First, I want to say I really love how segment 1 can be transposed to our world, with rich people never visiting the areas of lower-class people, the fact that some live in palaces while others in the same city are homeless, and even the destruction of the cardboard place, which can be compared to moments when homeless people and animals are forced to leave during major events (for example, the Paris Olympics, when many homeless people were sent elsewhere to present a good image of the city). The laws also make life even harder for tiny people, reflecting real-world policies that worsen conditions for the middle and lower classes.
To speak more about the chapter, the start adds even more royalty to Helena’s character. The way you describe her in the city feels like a queen visiting a peasant village. Her approach to the situation with Donnica is incredibly smart, which adds depth to her character. For a long time, she was described as the “mean Donnica,” but in this arc, we see she’s far more complex. While she shares some similarities with Donnica, she’s distinctly different, thinking more strategically while Donnica is often driven by emotions, as we see again in this segment. Before the big conversation, the best moment comes when Helena shows Donnica the cupboard town. It’s great because it reveals more about how tiny society is structured in America, and with the information about their status, we see how messed up this system is. The highlight of this chapter is when our two goddesses remove their shoes, letting the tiny people experience the heat and smell of their powerful feet. It’s well-executed, creating a paradox where people are dying and suffering while the two giantesses engage in a heated conversation. The only thing that could’ve enhanced it is a perspective from the tinies to heighten the paradox, but as you mentioned in the review of “It Was Me,” it would’ve made the chapter too long. I also love how Helena uses Donnica’s emotional nature to her advantage, leading her exactly where she wants: helping her to suppress even more rights for the tiny people. What I like most about Helena in this chapter is when she makes Donnica realize she’s a hypocrite. Donnica turned the office into a hellish place for tinies yet got upset when something happened to Trevor. It’s refreshing to see someone other than Trevor confront her. I also enjoyed the subtle moment when they look at each other’s shoes, both thinking about switching them. It was sexy and felt like a moment of mutual acceptance, seeing each other as equals. The ending, when Helena tells Donnica she’ll need Trevor to stay out of trouble, really highlights his status-C reality—he’s now nothing more than an object.
Now, onto S2 with poor Annabel, who is rejected by Donnica, her name removed from Trevor’s status-C, and worst of all, forced to “babysit” Naomi, who isn’t the greatest assistant for Annie. For Naomi, it’s the worst time to be associated with Annabel. She’s so angry, sad, and disappointed that she projects all her struggles onto Naomi, making her life as difficult as possible first with boring administrative tasks Naomi fails at, then with pointless manual labor, like moving huge quantities of paper for the printer (which they don’t even use) or carrying water for the fountain despite the delivery man offering to do it. Worst of all, Annabel uses Victoria as a threat to force Naomi to obey every command. Inevitably, Naomi drops the water, it was far too heavy. When she goes to clean the mess, luck finally smiles on her. While grabbing a mop, she spots a tiny, unclaimed, perfect for her to play with. She has something she really wants to do: rub her sore feet. For Edward, however, it’s the opposite. He was just a regular man working when he contracted the virus and shrank in the worst place possible—Donnica Cernovich’s office. I love that everyone knows how awful this place is for tinies. The fact that the virus is still active is crucial information (please, let Victoria catch the virus and end up in the hands of the worst possible giantess, or maybe on Azurea Island, exposed to rich women). Adding context to Edward’s character deepens this dystopian world. Unlike many dystopian stories where only the poor suffer, in DAW, anyone can be affected, which is compelling. Back to Naomi and Edward, the emotions they experience are well-crafted. Edward moves from fear to hope to despair, while Naomi’s journey is the reverse—she starts in despair, finds happiness when she realizes she can torment Edward, then feels fear when Annabel catches her, and finally hope when Annabel doesn’t care and even encourages her to crush him. This segment is also really hot, with Naomi using Edward to soothe her feet. Another great moment is Annabel discovering Naomi barefoot, playing with a tiny man—the fear in Naomi, the brief hope in Edward, and then Annabel casually placing her high heel on him, showing how she views tinies. Finally, the crushing moment under Naomi’s huge feet is fatalistic. The little sentence at the end, hinting that Naomi and Annabel will grow closer, is a nice tease. 

The highlight of this chapter is undoubtedly the third segment: Trevor meeting Celine again. Before this, we’re introduced to new characters, like Alexandra, the “new” Annabel, who, sadly for Trevor, is far less kind to him. He tries his best to get Annabel back, but Donnica is too angry to allow it for now. I feel like this aspect of Donnica’s personality will backfire eventually, as Annabel, despite her mistake, is the best at keeping Trevor safe since she genuinely cares about him. Donnica even keeps Trevor in her ass for a few days to assert control over him. This segment also reintroduces Juliette, one of Helena’s assistants who supervises for her clan, and two new tiny women, Vikki and Ricci, sent from Helena’s estate to ensure Trevor and Celine don’t do anything to harm Helena. These two tiny women are special in a good way. I really enjoy the contrast between Helena and Donnica. Even though Helena isn’t fond of tinies, she recognizes their value as assets, unlike Donnica, who only uses them as office slaves, regardless of their potential, even after seeing how useful Chelsea was before meeting Annabel’s shoe. It doesn’t seem like Donnica wants to change. This segment truly begins when Celine appears, providing more context about the “kingdom” and her role as an outcast—an intriguing title that could mean many things. Perhaps she was the queen before shrinking, or something else entirely. There’s so much potential around Helena that could change the world of DAW forever. The fun starts when Celine calls Trevor a hypocrite, which is interesting since Helena said the same about Donnica in segment one. It’s true maybe that’s why Trevor and Donnica need each other. Personally, I think Trevor only cares about tinies with a strong will to fight and change their situation, like Rebecca or Celine. For the broken ones, he feels nothing or even anger, possibly reflecting his fear of becoming like them—a tiny submitting to giantesses to survive, something he’s fought since the beginning despite his attraction to powerful giantesses. Before they can dive deeper, they have a mission to complete, and it’s incredible. The discovery of Vikki and Ricci, who are both brilliant and hilariously dumb, is perfect. It’s refreshing to have tinies who are lighter and less traumatized, enjoying life, joking, and living in their own colorful world. Some lines are just perfect, like: “You’re handsome,” she said plainly, like she was noting the weather. Then, something shifted between the duo. That one statement landed like a revelation. The two of them locked eyes, gasped, then immediately began whispering and giggling like schoolgirls who’d just discovered a new celebrity crush. Trevor turned back to Celine, chuckling. “They don’t seem so bad.” Celine’s slight jealousy is also fun. The best moment of this segment is the competition between Celine and Trevor, with Vikki and Ricci commenting in the background. To everyone’s surprise, Trevor wins, but while he’s celebrating, Celine does the impossible in just a minute, completing the full Minar-Legal-Sync integration to prove she’s the best. The most significant part, though, is the revelation about Celine and Helena’s relationship: Celine has a status-C, and Helena is her owner. This raises so many questions, as status-C is hard to obtain and requires the tiny’s strong desire. How did Helena manage it? So many intriguing possibilities. This segment is one of, if not the best in the entire story, with new incredible characters, funny moments with Vikki and Ricci, and, of course, Celine. The next segment takes us to Helena’s palace during a review of the meeting between Trevor and the Outcast. I was surprised by how kind Helena is toward Vikki and Ricci, acting like a sister or mother, which was a pleasant twist. It’s also interesting that she calls Juliette “sister,” which feels like the kingdom operates like a sorority. I wonder how it works—ranks for tinies seem based on their value to the kingdom (e.g., Vikki and Ricci’s coding skills are incredible assets), but we later learn they’ve also “met” Helena’s body, so perhaps ranks are based on time spent in the kingdom for both giantesses and tinies. It would be fun to see low-ranking giantesses below high-ranking tinies to teach them humility. I also appreciate that Helena listens to Vikki and Ricci, not just Juliette, showing she’s smart enough to value all her assets, regardless of size—an amazing aspect of her character. The conversation between Helena and Juliette about Donnica is intriguing. I wonder why Helena wants her so badly Donnica seems like she could be a liability with her personality. It must be something significant, as even Juliette doesn’t understand. The line that stood out most was: “You seem to have an awful lot of faith in a woman who’s done nothing but spit in your face. You’re staking quite a bit on someone who hasn’t even been tested.” What does this “test” mean? The big part of this segment is the conversation between Vikki, Ricci, and goddess Helena. It was fun and heartwarming. I was worried Vikki and Ricci would be scared around Helena, but they remain their funny, slightly naive selves. Helena stays kind, calmly listening to her “cute” tinies, offering a different view of her typically dominant or mean persona. The highlight is when Helena learns Trevor outsmarted the other tinies, but the real climax is her confrontation with Celine. Despite Celine’s defiance, she can’t stand up to a giantess. When Helena cries out Celine’s name, which is forbidden in the Kingdom, it shows there’s more than just rivalry between them. Ultimately, Vikki and Ricci win—Trevor will enter the Kingdom. The final segment focuses on Naomi and Annabel, whose relationship has evolved significantly since segment 2. We find them in a familiar place: Annie’s workshop, where she reveals her secret—she’s a breaker. Naomi’s reaction is like a kid in a toy store, which is fitting despite the workshop being anything but. It’s heartwarming to see Naomi start to trust Annabel, despite her fear of adults due to her mother. When training begins and Annie uses the ruler on Naomi, she notices something’s wrong. The moment Annie realizes what happened is perfect she knows exactly what to do, likely thanks to Trevor’s earlier advice. Giving Naomi the key to her place and permission to visit shows another side of Annabel. I also liked how she regrets using Victoria as a threat against Naomi, paralleling Donnica’s regret for slapping her. These parallels between characters are always compelling. The chapter ends sweetly with Annabel teaching Naomi to be a breaker, though it’s less sweet for the tinies who’ll suffer. 
In conclusion, this chapter is amazing, adding context and raising countless questions. Vikki and Ricci are perfect additions, bringing much-needed humor to this dark story. The evolving Naomi-Annabel relationship has the potential to change a lot. However, I’m starting to worry for Donnica—her situation could become dire if Helena changes her mind and goes after her.


Author's Response:

"Another fantastic chapter! First, I want to say I really love how segment 1 can be transposed to our world, with rich people never visiting the areas of lower-class people, the fact that some live in palaces while others in the same city are homeless, and even the destruction of the cardboard place, which can be compared to moments when homeless people and animals are forced to leave during major events (for example, the Paris Olympics, when many homeless people were sent elsewhere to present a good image of the city). The laws also make life even harder for tiny people, reflecting real-world policies that worsen conditions for the middle and lower classes."

This is exactly why I treasure these reviews… you bring in real-world parallels I hadn’t consciously considered. But you’re absolutely right: maybe I am constructing a kind of real-world narrative beneath all the madness. The example of the Paris Olympics was such a sharp comparison too; it really struck me. Thank you for making me see the chapter through a new lens.

 

"What I like most about Helena in this chapter is when she makes Donnica realize she’s a hypocrite. Donnica turned the office into a hellish place for tinies yet got upset when something happened to Trevor. It’s refreshing to see someone other than Trevor confront her. I also enjoyed the subtle moment when they look at each other’s shoes, both thinking about switching them. It was sexy and felt like a moment of mutual acceptance, seeing each other as equals."

Yessssss, that shoe moment was such a charged scene… and you’re absolutely right, it wasn’t just them admiring footwear. It was this strange, intimate gesture of mutual recognition. For the first time in a long while, they were on equal footing again... ironically, by literally looking at each other’s feet. I’m so glad that landed for you.

 

"For Naomi, it’s the worst time to be associated with Annabel. She’s so angry, sad, and disappointed that she projects all her struggles onto Naomi, making her life as difficult as possible first with boring administrative tasks Naomi fails at, then with pointless manual labor, like moving huge quantities of paper for the printer (which they don’t even use) or carrying water for the fountain despite the delivery man offering to do it."

Yes! Great read here. I honestly don’t think Annabel would’ve been quite this ruthless to Naomi under normal circumstances, but something deeper was definitely going on. It reminded me of when she first met Trevor and spiraled over George ghosting her. For all her cruel confidence, Annabel can be surprisingly emotional, and that volatility is part of what makes her such a fascinating chaos engine. I just hope she and Donnica find their way back to each other someday...

 

"Before this, we’re introduced to new characters, like Alexandra, the “new” Annabel, who, sadly for Trevor, is far less kind to him. He tries his best to get Annabel back, but Donnica is too angry to allow it for now. I feel like this aspect of Donnica’s personality will backfire eventually, as Annabel, despite her mistake, is the best at keeping Trevor safe since she genuinely cares about him. Donnica even keeps Trevor in her ass for a few days to assert control over him. "

Absolutely. Donnica's letting her emotions steer the ship here, and her anger clouds what should be obvious, that Annabel is uniquely suited to protect Trevor. Still… after the wild ride Trevor just went through, maybe some time in Donnica's ass wasn’t the worst place to recover.  :D

 

"The fun starts when Celine calls Trevor a hypocrite, which is interesting since Helena said the same about Donnica in segment one. It’s true maybe that’s why Trevor and Donnica need each other."

I love that you caught this! It hadn’t even occurred to me until you pointed it out, but yes, two of our leads being called hypocrites in the same chapter, and by different people, no less. That parallel is chef’s kiss. Maybe that’s what binds Trevor and Donnica together in the end; they each reflect and reinforce the other’s flaws... and fantasies.

 

"The discovery of Vikki and Ricci, who are both brilliant and hilariously dumb, is perfect. It’s refreshing to have tinies who are lighter and less traumatized, enjoying life, joking, and living in their own colorful world."

I love this take! Ricci and Vikki are such a joy to write, even if I was nervous at first, those kinds of exaggerated, comedic characters are a bit outside my usual rhythm. But giantess fantasy is wild and over-the-top by nature, so it makes room for characters who are just as outsized in personality. They totally flowed once I let them go. And don’t worry… you’ll be seeing plenty more of them!

 

"The most significant part, though, is the revelation about Celine and Helena’s relationship: Celine has a status-C, and Helena is her owner. This raises so many questions, as status-C is hard to obtain and requires the tiny’s strong desire. How did Helena manage it? So many intriguing possibilities. "

I'm thrilled people are reacting to that reveal the way I hoped! I spent several chapters establishing just how wild and difficult Status-C is to achieve, it’s more than ownership, it’s a kind of legal love pact that has to be entered willingly. And at the same time, I built up how much Celine & Helena hate each other. So yeah... when that truth dropped, that Helena had Celine’s Status-C, I wanted readers to go, “Wait, what?” and immediately start theorizing. I’m so glad it landed that way!

 

"This segment is one of, if not the best in the entire story, with new incredible characters, funny moments with Vikki and Ricci, and, of course, Celine."

Thank you so, so much for that. Segment 3 of this chapter honestly went through the most rewrites I’ve done yet… it had to do so much: introduce major new characters, deepen others, carry its own internal arc, and deliver a twist that would ripple forward. It’s probably my favorite stretch I’ve written so far, so hearing you single it out means a lot.

 

"The line that stood out most was: 'You seem to have an awful lot of faith in a woman who’s done nothing but spit in your face. You’re staking quite a bit on someone who hasn’t even been tested.' What does this 'test' mean?"

Indeed, what does the test mean? You caught something very important here. That line is going to echo into Donnica’s future in a big way. Let’s just say... her exam is coming sooner than she thinks.

 

"I also liked how she regrets using Victoria as a threat against Naomi, paralleling Donnica’s regret for slapping her. These parallels between characters are always compelling."

I knew this moment would resonate with you! It was such a relief to write Annabel reflecting like that. As much as I love her, that moment where she threatened Naomi using Victoria, it hurt for me to write! But characters grow through missteps, and her apology was soothing. And yes… you’re spot on, Donnica’s own regret about the slap makes the parallel even sharper. That contrast with Victoria… that’s where the real divide lies from her and women like Annabel and Donnica.

 

"In conclusion, this chapter is amazing, adding context and raising countless questions. Vikki and Ricci are perfect additions, bringing much-needed humor to this dark story. The evolving Naomi-Annabel relationship has the potential to change a lot. However, I’m starting to worry for Donnica—her situation could become dire if Helena changes her mind and goes after her."

It really does feel like Donnica and Helena are headed toward something seismic, doesn’t it? The tension’s growing on both sides and you’re right, the stakes are escalating. What’s Helena really planning? How much danger is Trevor in… or Donnica for that matter? And is this mysterious “kingdom” even real?

I guess we’ll find out soon enough!

Reviewer: It Was Me Signed [Report This]
Date: July 10 2025 6:28 AM Title: PART 29

Ooh! Ooh! I'd like to solve the puzzle, Alex!

Okay, maybe I don't have all the answers yet. Shit, maybe I don't have any of them. But I feel like S4 gave us a lot of information and that I now have a better understanding of what's going on here.

I'll admit that Helena calling Juliette "sister" threw me for a loop at first. Of course, my first thought was that this was some revelation that the two of them were family, but that didn't feel quite right. Given the way it was used and the other information at our disposal, I pivoted to them sharing another kind of sisterhood, one that was more ... organizational than familial.

Because Juliette definitely didn't talk to Helena like a normal subordinate in this segment. At times, it almost felt like she was debriefing Helena rather than the opposite. And Helena, when questioned about Donnica, consciously avoided telling Juliette the whole truth (that we don't even know, as that conversation between Donnica and herself took place off screen) but gave her something. Juliette even objected to Trevor being brought on estate grounds, and the way she did this didn't sound like a personal complaint but rather like she was invoking some sort of code or law to which they were both bound. Combine that with the reserved demeanor with which Helena addressed Juliette and Helena's tolerance for her subordinate's questioning, and it becomes clear that something different is going on here.

Then, as Juliette's concerns about Donnica were dismissed, she called Helena a "goddess," but she hadn't acted as though she worshipped Helena throughout the whole conversation. It came off more as title than something devout. This made me think back to Penelope whining about being a "goddess in waiting." as well as all that talk about her "fellowship" for that matter. It's starting to become clear why Helena holds the young Brit's mother in such high regard.

Then there was this passage:

Because Donnica was unreadable, always just outside the sphere of full comprehension. Unyielding, yes. Obstinate, often. But it was precisely those qualities that hinted at the makings of a sovereign. All rulers had to be a little isolated, a little unreadable, a little immune to the consensus of lesser minds.

Sovereign sure seems to refer to something specific here, rather than a generic ruler of tinies. And there are multiple "rulers" by the sound of it, each meeting a certain standard that Helena is utterly convinced Donnica meets.

Then there was Juliette mentioning that Donnica hadn't even been "tested" yet. For a second, I thought this might refer to the virus and a need to ensure that Donnica was immune before moving forward with their plans. I quickly dismissed that notion, though, factoring in this new piece of information with everything else that this segment (and some of the ones before it) revealed. I now think that this test ties in with the sovereign and ruling stuff.

Not to mention how strict certain rules seem to be within Helena's inner circle. Arguments about who can and can't be on the property or see the kingdom. Even Helena being concerned at saying "the Outcast's" name (oh, don't worry; we'll get to that!) before realizing that Vikki and Ricci weren't going to call her out on it. Hell, Helena was concerned about the two BFFs being traumatized from hearing Trevor say Celine's name. Even the "subject" and "slave" designations seem rigid and fixed rather than loose terms Helena made up for her amusement.

Piecing all this together, I think I had things all wrong from the start. My assumption was that Helena was masterminding some grand plan, and maybe she is doing her own thing in this instance (I don't know for sure), but it seems to me that she's part of some greater organization, and I don't believe she's at the top of it. I think Penelope's mother is highly respected within this organization, though, which is the connection that led to Helena taking the British brat into her emply (and probably her link back into the story).

Furthermore, I think Goddess is a rank within this organization, one that comes with its own kingdom (so that would mean there are several of these kingdoms around somewhere). And Helena wants to bring Donnica into the fold, making her a "goddess" as well, given all her thoughts on Donnica as a sovereign. Helena hasn't told her this yet, though, maybe because she can't. But now that bit at the end of the first segment where Helena notes that she can only tell Donnica part of the truth by showing her the Kingdom makes a lot more sense now.

Of course, I still don't know what this organizations larger goals are (or if it's even actually a thing!) or if what Helena is doing is aligned with said goals or if she's trying to advance her own agenda or move up the rungs of the organization on her own terms. It's also still not clear why they need Donnica, maybe for those government connections Helena is so worried about? Or perhaps it's more personal than that, with Helena's admiration of Donnica clouding her judgment a bit. And what could they need Trevor for within the Kingdom? Something Vikki and Ricci, with their "terrifying competence" can't solve? Nor could Celine? Or did Celine sabotage the thing in the first place and that's why Trevor is needed? That private hotspot from the previous segment is starting to make a lot more sense, too.

Speaking of making sense, this theory would explain why Juliette is still around when so many other "Helena girls" have disappeared. She's a plant for the organization. Hell, maybe Helena approached Donnica about working at the firm because of the organization in the first place, although I do also believe Helena when she says that she respects that Donnica didn't beg Helena to work for her like all the other firms. Both things can be true, though.

There's still a lot to learn about this situation, but I feel like it's coming together. Or maybe I'm wrong, and you're doing an awesome job at throwing me off the scent! Wouldn't it be hilarious if virtually everything I just said, all those words, is completely wrong?

And while we're talking about revelations coming together, I think I missed something obvious about all this Outcast stuff before. Mainly the outcast part. That certainly implies that Celine was part of the Kingdom at some point, doesn't it? Maybe whatever she did to fuck shit up in the Kingdom is why she was exiled? And does this mean that she was a "subject" at one point? I can't imagine a slave having that kind of access to whatever system she fucked up. And it sounds like being the Outcast means being a slave, so that would seem to suggest that Celine wasn't a slave before. So did Celine volunteer to be part of the Kingdom, and if so, why?

This is all really intriguing, but I still don't think we have enough information to know if any of this is true for sure. It's a nice working theory, though, I think.

Aside from theories and guesses, I was very much surprised with how Helena treated and regarded Ricci and Vikki. I didn't expect her to show such warmth and care for tinies. It was actually really sweet. Of course, it helps that the two tinies were being absolutely adorable in her presence, but this made me wonder if Helena feels similarly about all her "subjects" or if these two are just the exception. Either way, I really enjoyed seeing that motherly demeanor from her when dealing with them!

Of course, at least on the surface, this looks like hypocrisy on her part, which would be kind of ... pathetic (hey look, I said the thing!).

Oh, and like I mentioned briefly above, I find it really interesting that both Helena and Vikki and Ricci all seem bound to the same set of rules, despite their differences in size and rank. I'm really curious about this possibly nonexistent organization!

Also, seeing Helena think about Trevor continues to catch my attention. At first glance, it seems like she simply hates Trevor, but like before, I get the vibe that there's more to it than that. When she thought that Trevor wasn't exceptional, I didn't pick up any disdain in it; I felt like it was almost denial (maybe it was just the ellipses?). I feel like she didn't want to admit that Trevor was smart enough to rival Vikki, Ricci, and Celine (at least in some ways) but that, deep down, she already knew it was true, and she was trying to convince herself that it wasn't. I mean, with how quickly she lied about Trevor not being able to enter the Kingdom, immediately admitting to herself that it was, in fact, very possible, it was like she was fighting against something. Maybe admiration, begrudging though it may be? Or has the Trevor charm struck again, and Helena is caught up in its wave, helpless as a tiny dropped into the pool (fuck Victoria!).

Then again, it seems Celine has Helena's heart, whether she wants it or not.

That smut scene was intense! Unlike Penelope's rape of Trevor, this was something much deeper to Helena, and that jumped off the page here. And I love Celine's constant defiance, even after she was taken out, but the fact that Helena wouldn't be denied (and that this seems to be the first time she even thought to do this) was hot as fuck! As always, your descriptions were awesome, and you captured both Celine's anguish and Helena's triumph perfectly.

But more than that, the transition from Helena's triumph, that moment where she finally made her rival into a mere plaything, to Helena feeling something deeper, more emotional regarding Celine was handled perfectly! Oddly enough, in that moment when Helena had well and truly won, Celine got the upper hand without even trying (not that trying would have helped). Helena screaming out the Outcast's real name like that, breaking something she held sacred in a moment of unbridled passion, was an incredible moment!

Celine is living rent-free in Helena's head, no matter how much Helena wants to limit her to just being a slave or a worthless tiny. Not being able to look at Celine as the tiny stared angrily, defiantly back at her told the whole story, as did Helena setting her back in the cage so gentle after grabbing her abruptly right before. Honestly, I don't even know how Helena would feel if she ever actually broke Celine.

And just what are Vikki and Ricci up to? Behind all that giggling and silliness, there's something else going on there. Are they just smitten with Trevor? Or do they have some plans of their own? I really have no clue what these two or thinking at this point.

I also wanted to highlight this line:

Helena reclined in her chair with languid precision, one leg crossed over the other as she leaned back in a smooth arch of posture that spoke of ancient confidence, the kind born from eons of being obeyed.

This may be the most original way of conveying that someone is from old money that I've ever read.

So yeah, this segment either unveiled or added a lot of mystery to what's going on with Helena and company, and it even humanized her a bit. Again, seeing her gush over Vikki and Ricci was so cute! Excellent segment overall and just one more to go!

Author's Response:

HAHA, okay so I won’t dive too deep into the first half of your review since it’s mostly theory… but let me just say: it’s prettttyyy damn perceptive! And honestly, I love it. We’ve talked about this in DMs, but I’m a huge believer in not hand-holding the reader. Letting you figure things out on your own not only makes the story more compelling, but it’s also just way more fun to see where your mind goes. So to watch someone actually start connecting the dots based on the hints I’ve been dropping? Incredibly satisfying. I had a big grin on my face the whole time reading this. My anti-spoiler code prevents me from confirming or denying anything, of course… so all I’ll say is: keep reading. ;)

Also, I loved that you jumped back to the Penelope bit from the previous chapter and called out Helena’s reverence for her mother. I remember you originally thinking the “goddess in waiting” line was just Penelope being entitled… but I like that your tune’s shifting a little now… maybe there’s more going on there than it seemed! (although, just so we’re clear: Penelope is still definitely entitled!)

 

"And while we're talking about revelations coming together, I think I missed something obvious about all this Outcast stuff before. Mainly the outcast part. That certainly implies that Celine was part of the Kingdom at some point, doesn't it? Maybe whatever she did to fuck shit up in the Kingdom is why she was exiled? And does this mean that she was a "subject" at one point? I can't imagine a slave having that kind of access to whatever system she fucked up. And it sounds like being the Outcast means being a slave, so that would seem to suggest that Celine wasn't a slave before. So did Celine volunteer to be part of the Kingdom, and if so, why?"

I loved this section of your response, and honestly I was a little surprised it hadn’t come up in your S3 review (look at me getting greedy with your reviews now!) You’re absolutely right: the word Outcast isn’t just a label, it’s a whole story in itself. It implies a fall from something higher, and I think you’re reading Vikki and Ricci’s familiarity with Celine the right way. There’s clearly history there, way more than a random assignment of roles. Celine was no common slave.

 

"Aside from theories and guesses, I was very much surprised with how Helena treated and regarded Ricci and Vikki. I didn't expect her to show such warmth and care for tinies. It was actually really sweet. Of course, it helps that the two tinies were being absolutely adorable in her presence, but this made me wonder if Helena feels similarly about all her "subjects" or if these two are just the exception. Either way, I really enjoyed seeing that motherly demeanor from her when dealing with them!"

Right?! It was such a shift from the cold, commanding Helena we’re used to. For a second she almost seemed like... a mom. Like she was trying to manage two sugar-high toddlers while keeping her empire afloat. It was a nice reprieve, even if it didn’t last long… before she went back to doing Helena things (like, uh, raping Celine). And it does make you wonder if these two (Vikki and Ricci) are treated as subjects rather than slaves, what does that mean for the rest of the subjects under her charge?

 

"Oh, and like I mentioned briefly above, I find it really interesting that both Helena and Vikki and Ricci all seem bound to the same set of rules, despite their differences in size and rank. I'm really curious about this possibly nonexistent organization!"

There you go again with your nonsense about secret organizations and alleged Kingdoms! I don’t know where you’re getting this from. There’s no elaborate societal hierarchy operating in secret.

Probably...

 

"Also, seeing Helena think about Trevor continues to catch my attention. At first glance, it seems like she simply hates Trevor, but like before, I get the vibe that there's more to it than that. When she thought that Trevor wasn't exceptional, I didn't pick up any disdain in it; I felt like it was almost denial (maybe it was just the ellipses?). I feel like she didn't want to admit that Trevor was smart enough to rival Vikki, Ricci, and Celine (at least in some ways) but that, deep down, she already knew it was true, and she was trying to convince herself that it wasn't. I mean, with how quickly she lied about Trevor not being able to enter the Kingdom, immediately admitting to herself that it was, in fact, very possible, it was like she was fighting against something. Maybe admiration, begrudging though it may be? Or has the Trevor charm struck again, and Helena is caught up in its wave, helpless as a tiny dropped into the pool (fuck Victoria!)."

This is such a great read. My take is that Helena sees Trevor as the primary obstacle standing between her and Donnica. From her perspective, he’s the thing keeping Donnica at arm’s length; a pest, a barrier, a complication. And yet… there’s a growing note of begrudging respect there, isn’t there? Maybe even fascination. It’s like she’s trying to convince herself he’s not a threat, even as he keeps popping up in her plans. (Not to mention the fact that she technically owns him now… awkward.)

And yeah, Helena’s whole worldview feels like it’s rooted in some kind of old code. She doesn’t just believe in hierarchy, she embodies it, maybe even religiously. I wonder where she gets it from…

 

"But more than that, the transition from Helena's triumph, that moment where she finally made her rival into a mere plaything, to Helena feeling something deeper, more emotional regarding Celine was handled perfectly! Oddly enough, in that moment when Helena had well and truly won, Celine got the upper hand without even trying (not that trying would have helped). Helena screaming out the Outcast's real name like that, breaking something she held sacred in a moment of unbridled passion, was an incredible moment!"

Yes! I love that you caught that beat. Even in the smut, I try to make moments like that matter, to reveal something deeper. That was Helena unraveling, emotionally and ideologically, all in one breathless moment. And I’m so glad you picked up on her gently laying Celine back in the cage afterward, that was absolutely deliberate. She won, but it didn’t feel like a victory. It felt like surrendering to something she can’t control.

 

"And just what are Vikki and Ricci up to? Behind all that giggling and silliness, there's something else going on there. Are they just smitten with Trevor? Or do they have some plans of their own? I really have no clue what these two or thinking at this point."

indeeeeeeeeeeed what are those 2 little glitter bombs up to! I mean they are scheming something, I wonder what it is... in either event they seemed to have gotten Trevor access to the (alleged) Kingdom, so I guess we'll find out at some point.

 

"I also wanted to highlight this line:

Helena reclined in her chair with languid precision, one leg crossed over the other as she leaned back in a smooth arch of posture that spoke of ancient confidence, the kind born from eons of being obeyed.

This may be the most original way of conveying that someone is from old money that I've ever read."

Ah man, you know I always light up when you point out the prose. That one was one of my favorites too… it said so much with posture alone. The lineage, the power, the entitlement, and her place of significance in the scene. She was born to be obeyed, and everything about the way she moves screams it.

Appreciate you pulling that line out… and as always, thank you for such an incredible review! I had a lot of fun with this one!

Reviewer: It Was Me Signed [Report This]
Date: July 05 2025 9:31 PM Title: PART 29

Well fuck! I just got done saying that Donnica better not have been too hard on my precious Annabel after realizing that so much of this Status-C stuff was her own fault, and now we find out that Annie has been shut out entirely! Am I a bad person for being more pissed at this than I was Donnica carelessly stepping on the tiny city dwellers in the previous segment?

I think you did a great job of showing how much Donnica's wrath has affected Annabel. She wasn't traumatized are scared of her goddess-mother's blatant overreaction and thundering (I loved the use of this word in that part, by the way, separating it from yelling and making it its own thing). She was heartbroken that she had lost Donnica's trust and her chance to co-own Trevor, one of the only two people on the planet that she loves. I really enjoy how different this reaction is to virtually everybody else (other than Trevor) when dealing with an angry Donnica, even Amber.

And the way Annie accepted her punishment with a smile despite hating it so much was perfect! Even when cast out of paradise, she's still willing, desperate even, to serve. I've said before that there's nothing either Donnica or Trevor could do to lose Annabel's devotion at this point, and I felt a little validated when I read that part.

I also love how she beat herself up a bit about missing the portal status change. She had one job! That she felt humiliated at this makes a lot of sense, and I was wondering how she'd feel about her mistake. I was still left wondering if she felt any actual guilt about what happened to Trevor because of it, and I'll admit that I would have loved to have seen that pop up here, but maybe the fact that it didn't come up at all answers that question in and of itself?

But Trevor still did creep into her thoughts, and the loving way she remembered his "hope wrapped in kindness" was an endearing moment in this sea of self-pity and sorrow. I could feel her love from him jump off the page with those words. It also makes sense that she sees the problem as more of a permanent thing, not worried about recovering so much as lamenting that she'll now never be truly bound to the two objects of all of her affection. Of course, that may not end up being true, I think, as, even if Donnica doesn't change her mind before the transfer of ownership is complete, I'm sure that can always be adjusted later, after Trevor has finally convinced Donnica to forgive Annie (which I'm sure he'll be working on if/when he's back with Donnica).

Also, depending on how Helena and Donnica are handling the transfer of Trevor's ownership, the fact that Annabel's name was on the original paperwork could be a factor. Or are they just straight-up letting Helena "own" him and having her transfer that ownership to Donnica as a whole new transaction?

I'm curious if Naomi's incompetence in the office is a product of her abuse or if this is a bit of social commentary on modern teenage work ethic! That's a half-joke, but I could see Naomi's trauma playing a role in that for real. Maybe the immense pressure put on her by (Fuck) Victoria causes her to shut down and leaves her unable to think when she feels the slightest bit of pressure. Or maybe you just really hate teenagers (Amber and Scarlett notwithstanding)!

Annabel loving to threaten Naomi just by telling her mom that she's doing poorly is a very Annabel thing to do (you mentioned that emotional leverage, and I immediately went "Yep!"), but fuck does the context behind that feel like a swift punch in the gut. Annabel thinks Naomi is just some spoiled teen afraid of upsetting mommy. She has no idea of what will happen to Naomi if she tells Victoria anything negative about the girl's work habits. That bit about sensing Naomi's fear and using it like she would in her breaking duties particularly hit home for me. This was agonizing to read, and I mean that in the best way. This also has me curious about how Annabel would react if she ever found out the truth (and you doing this means you have to do that at some point; it's literary law, dude!).

Also, seeing Annabel enjoy the physical torment Naomi is suffering because of the job was really sad to me. The pointlessness of Naomi's tasks only made it worse.

I get that she's frustrated both with Naomi and her general situation and that this is her way of taking it out on someone, but all that empathy that Trevor had instilled in her (for anyone who isn't tiny) is completely absent here. I do think this makes sense, though, as Trevor's lesson was more about considering what the people who are terrible to you may be going through, not what people in Naomi's position as a struggling underling are dealing with. Ironically, Annie has become one of those bullies that picked on her to take out their frustrations on someone, and I don't think she'd like it very much if she saw herself in the mirror while being this way. Who knows, maybe Naomi will get that lesson in empathy somehow?

Also, it was a nice little detail that Trevor's new streamlined system is saving trees! It's always cool to see the little effects of his efforts hanging out in the background from time to time.

... staggering toward the cooler with a gait like a baby deer on ice.

Your prose is always so vivid, decadent, and clever, so I usually don't bring up a lot of specific examples, as I'd be here all day basically copying your chapters verbatim, but the creativity of this one really stuck out to me for whatever reason. What a very specific picture this simile paints. I know it's not a sexy or smutty part at all, but this one made me smile.

I was wondering how Annabel's breaking business was going now that she was (emphasis on was now, I suppose) part of Donnica and Trevor's relationship, so it was cool to get a little update on that. Sounds like things are thriving, and Annabel's frustration makes even more sense now that we know that watching Naomi has gotten in the way of that. It's not even the business aspect she thinks about when she's bothered by this; it's the loss of her "sanctuary." Because if there was ever a time that she needed something like that, it's right at this particular point and time, and here Naomi is unwittingly getting in the way of it.

Hmm, I wonder if her problem might become her solution at some point, given how this segment ended!

I thought the introduction of Edward led to some great ...worldbuilding (what's happening to you?!) here. First, we now know the shrinking virus is, in fact, still going around, which seems to imply that no one is safe and the hubris of the giants is greatly misplaced. Second, we got to see just how widespread the reputation of Donnica's firm has become. It's funny to think a firm once run by a tiny is now known as the most anti-tiny rights firm around. And that no one seems to be able or willing to do anything about it, for that matter. And third, we got a little detail into how Donnica has been able to get away with enslaving and murdering all those tinies on firm property. It wasn't much, but learning even a little bit of the legalese behind that counts, so congratulations on a three-pronged worldbuilding assault!

And holy fuck did you make me feel something for Edwards. Between his situation and what we learned about his family, that Naomi was probably his daughter's age, made him so relatable, even more than some of the other tinies we've seen meet similar fates. And the hope he felt at seeing "innocent" Naomi, only to have it fade away once he realized her true nature? Damn, that was powerful.

As for the scene itself, the whole thing was hot as fuck, but that simple act of Naomi crouching down to see Edward better, then slowly raising herself up to seemingly "pull the rest of the room up with her" was so fucking amazing! I use the word mesmerized when talking about your writing a lot (and justifiably so), but your description of this part fully captivated me. Shit, I think I was more into that than the footplay or Edward actually getting crushed (which were both really hot in their own right). Just a brilliant piece of writing there.

Okay, back to Naomi. With her natural feelings about tinies (particularly tiny adults), I found her approach here interesting. Before we saw her just crush people left and right, soaking up the feeling of literally crushing those who, in a general sense, look like the source of her own torment. But here, Naomi really took her time. Annabel had been riding her so hard, and she relished having someone at her mercy for a change. Naomi just didn't want to give that up too soon or waste this gift. So her rolling Edward around on her sole like that really matched her mental state at the time, I think. Nicely done!

Seeing Annabel's feelings on Naomi completely change once she realized that the teen loves playing with tinies as much as she does was a really sweet moment (for everyone other than Edward, anyway). Also, I love the way Annabel shut Edward up with a tap of her toes (with shoes on!) and a simple command. Her precision in getting obedience from the tiny ones is impressive! And while, as I mentioned before, I felt terrible about what happened to Edward, at the same time, I really enjoyed that bonding moment between Annabel and Naomi.

Because these two really have a lot in common. Like I said before, Annabel had kind of become just like her old bullies here, and I think part of that was because Naomi is kind of similar to how Annabel herself used to be. Both of them would be considered "weirdos" by the mainstream. Even Annabel's love of vampire romance novels isn't that far removed from goth, I think (if anyone reading this is a goth person, please don't hit me for saying this!).

But my larger point is that, like Annabel before her, Naomi has been judged for her interests, and that's fucked up. I'm so happy that Annabel, even if she hasn't noticed that yet, has started to take a liking to Naomi. Here's hoping that lasts!

Author's Response:

"Well fuck! I just got done saying that Donnica better not have been too hard on my precious Annabel after realizing that so much of this Status-C stuff was her own fault, and now we find out that Annie has been shut out entirely! Am I a bad person for being more pissed at this than I was Donnica carelessly stepping on the tiny city dwellers in the previous segment?"

Haha, when I read your first review, I had a quiet little laugh to myself knowing you probably weren’t going to be happy when you hit S2. Totally valid to feel more pissed about Annabel getting shut out… those tiny city dwellers in S1 were just anonymous little specs, but this? This is our Annie!

 

"I'm curious if Naomi's incompetence in the office is a product of her abuse or if this is a bit of social commentary on modern teenage work ethic! That's a half-joke, but I could see Naomi's trauma playing a role in that for real. Maybe the immense pressure put on her by (Fuck) Victoria causes her to shut down and leaves her unable to think when she feels the slightest bit of pressure. Or maybe you just really hate teenagers (Amber and Scarlett notwithstanding)!"

It’s definitely the trauma. I mean, how could it not be? When you’re that young and the one person in your life who’s supposed to protect you (your own mother) becomes your abuser, that has to bleed into everything. I’m sure Naomi would still grumble at doing unpaid work (hell, I would’ve too at that age), but Victoria’s constant pressure and neglect? That absolutely seeps into her ability to function under even the slightest stress. It’s heartbreaking, but it tracks.

 

"Also, seeing Annabel enjoy the physical torment Naomi is suffering because of the job was really sad to me. The pointlessness of Naomi's tasks only made it worse."

That one stung, yeah. Especially since we know what Naomi’s going through. But I think it shows that Annabel’s not as okay as she’s pretending to be. Guilt, shame, self-loathing… they all twist people in different ways, and Annabel’s pain is so raw right now that it’s snuffing out her empathy in moments like this. Which is tragic in itself, because you nailed it; Naomi is so much like a younger version of Annabel. The recognition’s there, even if Annabel’s not ready to name it.

That said, there was something of a shift between them at the end of the chapter. A silent thread connecting them. Maybe we’ll see more of that soon… maybe even later in the chapter.

 

"... staggering toward the cooler with a gait like a baby deer on ice.

Your prose is always so vivid, decadent, and clever, so I usually don't bring up a lot of specific examples, as I'd be here all day basically copying your chapters verbatim, but the creativity of this one really stuck out to me for whatever reason. What a very specific picture this simile paints. I know it's not a sexy or smutty part at all, but this one made me smile."

Yessssss. I was really proud of that line too! Funny you called it out… I remember writing it and just grinning because it snapped the visual together so perfectly. Not a smut line, sure, but it landed with exactly the tone I wanted. I figured it might fly under the radar, so it’s awesome to see it get some love.

 

"Hmm, I wonder if her problem might become her solution at some point, given how this segment ended!"

Hmmmmmmmm... I wonder too...

 

"I thought the introduction of Edward led to some great ...worldbuilding (what's happening to you?!) here. First, we now know the shrinking virus is, in fact, still going around, which seems to imply that no one is safe and the hubris of the giants is greatly misplaced. Second, we got to see just how widespread the reputation of Donnica's firm has become. It's funny to think a firm once run by a tiny is now known as the most anti-tiny rights firm around. And that no one seems to be able or willing to do anything about it, for that matter. And third, we got a little detail into how Donnica has been able to get away with enslaving and murdering all those tinies on firm property. It wasn't much, but learning even a little bit of the legalese behind that counts, so congratulations on a three-pronged worldbuilding assault!"

Haha! Look at you praising worldbuilding like it’s not a guilty pleasure now. But seriously, yeah, I’ve been meaning to flesh out Donnica’s firm for a while, so it was great to finally crack that open. And revisiting the virus adds another layer too. I’m really excited to start exploring how being giant (or tiny) alters someone’s psyche and worldview. The shrinking virus isn’t just background lore anymore. It’s going to matter.

 

"As for the scene itself, the whole thing was hot as fuck, but that simple act of Naomi crouching down to see Edward better, then slowly raising herself up to seemingly "pull the rest of the room up with her" was so fucking amazing! I use the word mesmerized when talking about your writing a lot (and justifiably so), but your description of this part fully captivated me. Shit, I think I was more into that than the footplay or Edward actually getting crushed (which were both really hot in their own right). Just a brilliant piece of writing there."

Bro. That part might have honestly been my favorite part of the whole encounter. I’m a huge foot guy, don’t get me wrong, but that whole motion (the slow descent, the scrutinizing gaze, the rise) just landed so well. I didn’t even have that sequence in the first draft. I added it during rewrite, thinking the scene needed more build before we got to the foot/crush smut. But man, it might’ve ended up being the most arousing part of the whole scene for me too. So seeing you call it out? Awesome.

 

"Seeing Annabel's feelings on Naomi completely change once she realized that the teen loves playing with tinies as much as she does was a really sweet moment (for everyone other than Edward, anyway). Also, I love the way Annabel shut Edward up with a tap of her toes (with shoes on!) and a simple command. Her precision in getting obedience from the tiny ones is impressive! And while, as I mentioned before, I felt terrible about what happened to Edward, at the same time, I really enjoyed that bonding moment between Annabel and Naomi."

Ahhh yes, the lovely bonding-over-cruelty moment. Edward might disagree, but I thought it was kind of sweet as well! And yes, that tap of the toe? With her shoe on? Annabel’s precision is something else. She’s like a concert pianist… except her piano keys are squirming tiny people. I wonder what other “skills” she might be able to pass on to Naomi. Maybe even a whole... discipline?

I wonder...