Cane23

It’s perfectly fine to be monogamous - after all, that’s the norm for most people. But @CasualWanderer82 doesn’t write the mainstream. His stories go beyond convention, exploring love in all its complex, unconventional forms.

The sex scene in this chapter stands apart from so many others because it isn’t staged like a movie - there are no scripted roles, no rehearsed choreography, no predictable sequence of who does what or where a hand, mouth, or body should go. These men are searching each other’s bodies... exploring, experimenting, discovering - and in doing so, they slowly begin to dissolve their boundaries. Not only the boundaries of physical intimacy, but the ones etched deep in their minds. Here, there is no right or wrong - only what each man desires, feels, and gives. Their lovemaking goes beyond penetration... it becomes touch, breath, a kiss, or even the silent act of watching from a chair - not with jealousy, but with joy and wonder. In this scene, they embody the true essence of the trinity -one in substance, yet three in person.

Throuples and threesomes can be fun, thrilling, and adventurous - they burn with passion and desire. But @CasualWanderer82 writes something far deeper... a trinity. A trinity is divine - consubstantial and indivisible. The relationship between Jackson and Blake is fire - it’s the world, the road. The relationship between Jackson and Cash is the porch, the anchor - home. Jackson loves them both - he cannot choose, and he shouldn’t. But can a trinity exist without the third bond - the relationship between Blake and Cash? Without that connection, it’s not love, only coexistence. Love demands sacrifice, tolerance breeds suffering. When Blake chases Cash and confronts him in the rain and mud, somewhere between fists and tears, a new bond is born. It’s raw, violent, redemptive - a moment when pain becomes understanding. In Man Up, Nate and Ryan share a similar connection - one forged through pain. As do Jackson and Caleb, or even the Pawn from another of @CasualWanderer82's stories (as Jackson, showing on the horse) - the angel-savior who arrives to free them all. Blake and Cash are mirrors of each other. In each other’s eyes, they see not only pain that cannot be erased, but also the strength of survivors - a victory over the demons of the past. And as those demons are cast back into the flames of hell, guided by their guardian angel, two scarred souls rise through purgatory toward resurrection. And finally - the trinity is whole.

"Fuck, yeah..."

You really don’t like the guy, do you? 😂 I’m not so sure Brad would’ve had any problem saying bluntly, “When did I invite you? What are you talking about?” But the fact that little, perfect Lyn was lying - no less than to His Highness the Mind Reader himself... well, Brad couldn’t resist playing along with the farce. I think the act of “saving” him was, in itself, an act of kindness. But since Brad is… well, Brad, everything with him is transactional. So, naturally, the next line had to be: “Lyn, you go buy the booze.” As for the kiss - let’s just say Brad simply didn’t know better. He wasn’t aware of the damage he caused - not an excuse, but certainly not something done out of malice either.

Okay, putting psychology aside, I’d say the moment Brad earned some credit with me (not unlimited credit, of course, @Laura S. Fox will need to give us more on him soon to keep it) was when Lyn invited himself to Brad’s place for the winter holidays, and Brad backed up the lie by not telling Alexander. We can definitely debate Brad’s motivations, and sure, the holiday itself wasn’t exactly heartwarming - but that moment, Brad’s silence in support of Lyn’s lie, was a rare and beautiful gesture. It was the kind of support Lyn desperately needed and Bradley so rarely offered.

https://gayauthors.org/story/robert-hugill/ralph-breaking-free/11 We'd like to see it too! 🤣😂

I thought they might be Iverson’s!

That’s an amazing observation! The last flashback chapter really feels like a mirror- or maybe a counter-mirror of what’s about to happen in the next chapter. Brad has already noticed the growing closeness between Lyn and Alexander and initiated the conversation, and this flashback shows a striking parallel from the past. The scene with Brad demanding, almost like a child, that Lyn repeat “You’re my best friend… again,” feels like a setup for what’s coming. Based on the story so far, we can imagine a similar scenario playing out - but with Lyn’s reaction completely different now. He’s grown and matured, while Brad hasn’t, which could reverse the emotional balance. Even the final line of this flashback “Lyn closed his eyes to show how fed-up he was with these shenanigans. When he opened them again, Brad was gone, and he was alone.” - foreshadows the next chapter, perhaps with reversed roles... this time Brad may be left reflecting while Lyn takes control. It’s exciting to see how this past chapter sets the stage for the confrontation we’re all anticipating.

Brad's jealousy isn’t triggered by understanding what’s going on between Lyn and Alexander, but by feeling that their bond operates on a different plane. His relationship with Lyn has always been practical, performative, and unequal. Brad offers Lyn entry into the social world (parties, popularity, validation) while Lyn offers Brad intellectual support (essays, tutoring, structure). For Brad, their friendship is transactional. What disturbs Brad isn’t Alexander’s wealth, but that his relationship with Lyn defies the logic Brad lives by. Alexander has money, he can pay for repairs in the room… but that’s not how they’re functioning. Alexander could pay for Lyn’s labor but doesn’t, because he understands the gesture emotionally. Lyn fixes the bookshelf not for reward, but for meaning, he feels seen and useful in a genuine way, not because someone needs his skills, but because someone lets him be who he is without condescension. That’s why Brad’s anger takes the form of class resentment (“that guy’s loaded... you’re his vassal”) - it’s projection. He’s accusing Alexander of treating Lyn as inferior when, in fact, Brad is the one who has always done that. His jealousy is a displaced recognition that Lyn and Alexander relate as equals, while he and Lyn do not. Brad’s childish demand to be called the “best friend” stems from this unconscious realization. Deep down, he’s not afraid of losing Lyn’s help... he’s afraid of losing Lyn’s loyalty and emotional center. He cannot express longing in adult language, so it leaks out as possessiveness and physicality - grabbing, shaking, hugging, joking about being “crazy about you.” The emotional truth is wrapped in macho performance. Lyn realizes, maybe for the first time, that Brad never understood the sincerity behind his help - that he saw it only as function, not affection. For someone like Lyn, whose affection is expressed through service and effort, this is quietly devastating. Meanwhile, Alexander’s simple “Thank you, Lynton. That was kind of you.” is exactly the acknowledgment Lyn craves - the kind Brad never gives because he doesn’t think he needs to. Alexander’s minimalism feels more profound than all of Brad’s noise. “Let’s go, Lyn baby,” Brad said, pocketing his phone while wearing the same goofy smile as before. He snatched Lyn out of Alexander’s proximity as if he needed to save his pal from the attack of a wild animal. He even wrapped one arm protectively around Lyn’s shoulders as he pulled him away. That’s a key moment of social signaling rather than genuine intimacy. The physical contact inside the dorm was performative, a way for Brad to assert his presence in front of Alexander. It’s less about expressing care for Lyn and more about claiming territory, showing Alexander (and perhaps himself) that Lyn is “his” in some way, even if only publicly. “Don’t be a chauvinist now, Bradley,” Alexander warned. “Lynton is too orderly to tolerate a person who’s a mess on either the inside or outside or both. He doesn’t have time for fixing that type of person.” This is interesting, who's actually Alexander referring to here? On a deeper level, Alexander’s comment mirrors the emotional dynamic between Lyn and Brad...Lyn’s “orderliness” vs. Brad’s chaos is a defining feature of their friendship. For years after college, Lyn has been fixated on Brad, trying to make sense of his unpredictability and impulsiveness. His life hasn’t been fully “in order” because he carries the memory of Brad’s emotional mess - the unresolved affection, teasing, and volatility. In other words, Brad himself represents the mess that Lyn tolerates and tries to navigate, even as it prevents him from fully establishing his own structure.

River said something that really made me think about this possibility: “You talk a lot for someone who hides behind their brother’s money,” he said coldly. “But I suppose that’s what you’re best at—buzzing around pretending you matter.” Basically… because it’s true! So why do they tolerate her arrogance, interference, and, let’s be honest, bullying?! For God’s sake, Zayn keeps apologizing to her all the time! I swear, I’m going to start rolling my eyes every time he says, “I’m sorry, Aunt…” (just like in the previous story - @vanalas knows exactly where 😂).

Oho, daddy turned out to be more than we expected… he’s a serious player. As others have pointed out, he doesn’t tolerate any nonsense - not from the bootlickers, not from the gold diggers, starting with his own family. His silence speaks volumes, yet nothing escapes his notice. I wouldn’t be surprised if he’s the first to see through a fake relationship - and chooses to stay quiet, sensing that River might actually be just what his son needs. As for Veronica, her influence over the family feels rather suspicious. What does she have on them? It doesn’t look like respect - more like fear.

Don't underestimate the power of the force!

Someone clearly hasn’t read all your stories, @CasualWanderer82! “Two horses” is just the beginner level of the game!

Oh, River… little did he know he’d end up the protagonist of his own telenovela! If Zain refuses to work on his manners, he should at least polish his acting skills - because forgetting to introduce your boyfriend or ignoring insults aimed at him looks neither convincing nor remotely respectable. River, meanwhile, gave the most spot-on description of Veronica and Harry. But Zain’s father remains a mystery - is he truly homophobic, or is his prejudice rooted in those all-too-common stereotypes about gay life?

Aww… an ugly duckling and a hate-to-love rom-com? Yay, perfect combo!

I believe in this chapter happened one of the most crucial psychological turning points in Misaligned. That passage signals a tectonic internal shift in Lyn’s emotional landscape - one that not only redefines his relationship with Brad, but also his self-perception and agency. “His skin caught fire at Alexander’s touch. Absentmindedly, Lyn caressed his wrist, where Brad had touched him earlier tonight.” It’s Lyn unconsciously measuring past and present intimacy. Brad’s touch once carried enormous emotional weight - nostalgia, longing, and self-doubt. Now it’s almost clinical... a reflexive acknowledgment without emotional fire. By contrast, Alexander’s touch ignites real fire, not because of lust alone, but because it’s anchored in the present, in something authentic, mutual, and grounded. “He wanted something from Brad, yes, but it wasn’t this age-old teasing.” The teasing that once charmed Lyn now rings hollow because it exposes Brad’s stagnation. Lyn’s irritation is the psyche’s way of saying - I’ve outgrown this dynamic. It’s a quiet emancipation from the cycle of yearning and humiliation that defined their college years. “Like an adult tasting a dessert craved during his younger years…” Amazing metaphor - a moment that makes this moment both melancholy and liberating - it’s the death of an old fantasy. We've been joking about Brad's reaction in forthcoming chapter... Joking aside, the only “trick” left to Brad is honesty. The manipulative teasing, nostalgic charm, and emotional push-pull that once worked will fail now, because Lyn has finally stepped out of the old narrative. Brad’s problem, as Alexander perceives astutely, is that he hasn’t evolved. He’s emotionally frozen in those college archetypes - the adored one, the straight best friend, the object of longing. When he tries to reenact those scripts, Lyn no longer fits the role. The play has changed, and Brad hasn’t realized the curtain already fell. For Brad to truly reach Lyn now, he’d have to abandon the performance and meet him as an equal - vulnerable, fallible, honest. But that’s the one thing Brad fears most, because it dismantles the identity he’s built on being admired and desired but never exposed. “Morning after” scenes often reveal what sex meant. The night before was heat and impulse; the morning reveals what lingers. Here, Lyn wakes in warmth, not stiffness - both literally and metaphorically. His body feels relaxed, “better than he’d felt in years,” wrapped in heat and gentle touch. The insomnia and guarded anxiety that usually haunt him are gone. The implication... this wasn’t mere physical release - it soothed something psychic. Alexander’s presence calms him, grounds him. “Show me your good face, Lyn. Drop your guard. You’re safe with me here.” is one of the most important lines in the story so far. It’s not about sex... it’s a psychological invitation. Alexander is asking for emotional nakedness, not just physical. “Drop your guard” isn’t something anyone has ever successfully told Lyn before. And astonishingly, he does. What I love about this chapter - and about Misaligned in general is how much the small words say. There are no grand love declarations here, yet the emotional gravity is immense. Lines like “Lyn, why do you have to be so good?”, “Sleep in my bed,” “I want to know about your marriage,” “Lyn, you smell so nicely of me,” or “The way you look, Lyn…” carry layers beneath their surface. They’re quiet but devastatingly intimate. Each of them exposes what neither Lyn nor Alexander can quite say aloud - longing, vulnerability, fear, tenderness, even possession. Alexander’s teasing “why do you have to be so good?” hides both admiration and surrender; “Sleep in my bed” is not about sex but about peace and safety; “I want to know about your marriage” is Lyn’s plea for honesty, proof that he’s done with illusions. When Alexander murmurs, “You smell so nicely of me,” it’s both a claim and a confession of how deeply he’s marked by this connection. And “The way you look, Lyn…” - that unfinished thought... is love trying to break through language. That’s the brilliance of this story - its restraint. What’s unsaid speaks loudest. Every line feels like an accidental confession, a moment where the mask slips and something real, raw, and human shows through.

If I remember correctly from Wolf in the City, the mates gain the miraculous ability of anal self-moistening! That could be incredibly helpful for Jack when he's caught in a clinch with Alpha and Guardian.

Though honestly, I wouldn’t be surprised if Brad played dumb again - his face saying a million things while he blurts out something like, ‘Oh Lyn, I knew you were a player! Who is she? Tell me!

"It's not what you think!" 😜

Just a quick question before the new present-day chapter drops, guys - who do you think Lyn’s “daddy dearest” really was? A politician, a preacher... or someone else entirely? 🤔 And do you think Alexander knows the truth about Lyn's father? 👀

Of course, not - but still, it’s an interesting perception, that he’d even feel the need to ask for permission! 😉

No, you are not! And if you write book 2 just to bring Noah and Jace back...and kill Matteo - please don't! 🙏

Another first from our author. While complex, multi-dimensional characters have always been @CasualWanderer82's hallmark, capable of both good and bad, this feels like the first time we’re offered such a clear path to redemption for one of them. Looking back at the parallel I drew between Colt and society in my previous comment, it seems the author is giving humanity a second chance. 😉 Taking it a step further, Colt demonstrates a bravery no other character shows in this story (except Weston, if I recall correctly). He is the first to openly say, ‘I’m gay,’ making a statement as direct and declarative as one might in a courtroom, without hiding behind euphemisms like ‘love knows no limits’ or ‘hearts want what they want.’ This is a profoundly liberating confession. And Daisy acts as a magnificent ‘priest’ in this moment - she listens, comforts, does not judge, and fully accepts and supports him. She doesn’t promise an easy road... what Colt did cannot be erased. But Daisy raised her children to lend a hand to anyone who needs it… and they’ll accept their ‘prodigal son.’ I’m really intrigued by the reunion between Jackson, Cash, and Blake. @CasualWanderer82 writes incredible love triangles, and every resolution is an art in itself. Usually, not much of the triangle remains by the end, so this might be something different the author is exploring in this story too. Blake needs a safe harbor as well - a place to return to from his journeys, from the roads he travels - though perhaps his harbor isn’t with just his man, but with his men.

“Nothing. Can’t you even give a bro a helping hand, though, Mr. President?” The boy snickered at his own bad joke. They called him that behind his back and even to his face. He guarded his home realities fiercely, which meant that he had constructed a different reality for people around him to know, people of the same age. He carefully built a fantasy he preached like gospel involving an absent father who was neck-deep in many lucrative businesses and a demanding mother who expected nothing but the best from him A total stranger just used a nickname Lyn already knew too well - but the fact he threw it at him also means Lyn had already caught his attention!