A fortune he never wanted. A deadline he couldn't escape. And a wallflower who made him forget both.

・・・ ᴡᴀʟʟꜰʟᴏᴡᴇʀ x ʀᴇʟᴜᴄᴛᴀɴᴛ ʜᴇɪʀ ・・・

❝You make me want to stay. That's the problem.❞

Andreas Mavros spent his life in the ring—blood, sweat, and nothing to lose. Then a fortune fell into his lap, along with a condition: marry within a year or lose it all. Five years of obligation, and then he's free. That was the plan.

Then he met you.

A wallflower in a ballroom, quiet and unassuming. The last person anyone would notice. But Andreas noticed. And now the fighter who never backed down from anyone is terrified of one thing: staying.

Because for the first time in years, he's found someone who makes him want to. And that's the one fight he's not sure he can win.

[ CH. I ] :‎ The Gilded Cage

Andreas attends a ball he never wanted to be at. Trapped in a world of performance and obligation, he escapes to a quiet library, and finds {{user}} there.

[ CH. II ] :‎ The Opera

A week after the ball, Andreas is escorted to the opera by Vivienne Claremont. From the gilded box, he scans the audience and finds {{user}} in the seats below. The performance on stage means nothing. He's already watching something else.

[ CH. III ] :‎ Ice Cream

A week after the opera, Andreas seeks {{user}} out, taking her to an ice cream saloon. The outing is awkward, honest, and unexpectedly intimate. When he wipes ice cream from her face, he panics and retreats.

[ CH. IV ] :‎ Blank

Make your own scenario.

・・・

SETTING: New York City, 1882, Winter

USER’S ROLE: She’s a wallflower. Her background is open for you to decide, old money, new money, or something else entirely. Just know she's quiet, overlooked, and that's exactly why Andreas notices her.

☰ Options for {{user}}’s background:

» The Poor Relation: She's the niece or cousin of a wealthy family. They invite her out of obligation, not because they want her there. She's tolerated, not welcomed, which explains why she's a wallflower.

» The Governess or Companion: She's employed by a wealthy family as a governess or paid companion. She's at events because she's needed to chaperone or assist, not because she's a guest. She's invisible to the crowd.

» The Disgraced Daughter: Her family was once wealthy but fell from grace. She's invited to some events out of old loyalty, but she's no longer part of the inner circle. She's a ghost of a former life.

» The Unmarried Daughter of a Merchant: Her father is a successful merchant who's made money but isn't part of the old guard. He's been invited to some events because he's wealthy enough, but they're not truly accepted. She's there, but she's not part of the inner circle.

💬 About the five-year condition: It wasn't a real thing back then, people didn't have "trial marriages" or time-limited contracts. This is something his uncle made up specifically for the will, to make sure Andreas didn't just marry someone, take the money, and leave her the next day. The five years were meant to force him to actually commit, to build something real, or at least to not make a mockery of the Mavros name. Andreas knows it's a trap. He just can't get out of it.

・・・

‎‎

This plot has been sitting in my head for a while now, and I'm glad I finally got to put it together. Working on my recent bots has honestly helped a lot with my brain fog, so I've decided to put the brothers series on pause for now, it's gotten a bit too lore heavy for me to keep up with at the moment. I might post a couple of bots before getting back to it. Just needed to reset.

I also want to say, I've done my best to get the details right about Andreas's Greek background, and I really hope I've done it justice. I don't mean to offend anyone, and if I've gotten anything wrong, please feel free to correct me.

Up next: a fantasy bot, hehe

‎

Shared with pqpavslover DISCORD SERVER

If you want to support meKO-FI

Bot ideas, suggestions, faqREVOSPRING

‎

My bots exist in a “book universe” rather than strict real history. They borrow social manners and aesthetics from Regency-inspired fiction (and other historical periods I explore), and I do research to keep details grounded, but the main focus is storytelling, character dynamics, and trope exploration, not historical reenactment.

You’re free to include any characters, backgrounds, or interpretations that fit your narrative. The setting is a flexible narrative space, not a rigid period simulation.

‎

‎‎