Kiss the Villain

“You’re such a good boy, Gaz. I never have to worry about you. I’m so glad you’re this dependable, son. Responsible. Reliable. Perfect. Perfect. P.E.R.F.E.C.T.”

Through Gareth’s father’s perspective, Kent outlines both the guiding moral principles and expectations that have been, in Gareth’s view, unfairly placed upon him, as well as their isolating effects. While he will later reveal to desire his parents’—specifically his father’s—validation, it nevertheless burdens him psychologically to contend with it ceaselessly. The emphatic tone of his father’s comments and the emphasis on perfection highlight the high pressure he is under.

“I like that none of them caught a whiff of this side of me. The side riddled with urges and voids, and a thirst so deep, Kill would look like a saint if they realized.”

Here, Kent underlines the discordant and competitive relationship Gareth has with his brother. He takes pride in the fact that, unlike Killian, who is publicly known for his antisocial personality disorder diagnosis, he can maneuver within their family and in society, unknown and unseen. This quote introduces the theme of The Cost of Social Masking as Gareth congratulates himself on his deception.

“It’s beyond me how people can be such…animals. Letting their urges get the better of them, succumbing to dumb decisions and lackluster fucks they’ll definitely regret come morning.”

In this thought of Gareth’s, Kent foreshadows an eventual remonstrance by Kayden to Gareth. Though in this instance, Gareth believes he is above his “urges” and, as such, superior to his peers, his relationship and attraction with Kayden prove the opposite. Gareth’s confidence in his stance, reflected in his certainty that people will “definitely regret” their decisions, providing a stark contrast to his later realization that he doesn’t understand relationship dynamics as well as he thought he did.

“The act of sexual penetration is clearly the physical component, but it’s the mental state that determines the severity and nature of the charge. Consent—or lack thereof—is crucial here. If the accused knew, or should have known, that consent was absent, the question becomes: was there willful disregard for the victim’s autonomy? Was there an intent to dominate, to exert power?”

Kent uses the context of the mock trial to examine the parameters of Kayden’s dominance over Gareth. Though he undeniably rapes Gareth in their first few encounters and pressures him for penetrative sex, the author uses this line to highlight that Gareth is, in the end, the one to consent to “forced” sexual penetration, and thus, by legal definition, Kayden does not rape him in that moment.

“His bad habits are pouring out like a damn […] waterfall. It’s euphoric. And I feel myself riveted, fully absorbed in what else I can squeeze out of that perturbed mind of his.”

In this excerpt, Kent highlights how the sadistic element of Kayden’s personality falls within the dynamics of his dominant-submissive relationship with Gareth. What incites him to act this way in their relationship is the knowledge that he is the only one able to break Gareth’s steadfast control, which fosters a sense of ownership over him.

“But that’s the whole point of learning law—it’s easier to get around the loopholes and violate it. But you already know that.”

Here, Kent demonstrates why Kayden is not a morally aligned character. Rather than embodying the morals of the legal system, Kayden highlights the fact that he only thinks of it as a tool to enact his plans and a shield to protect himself from reprisals. His implication that Gareth has much the same attitude hints that Gareth has an equally morally ambiguous character.

“‘You were a good boy today.’ A strange sensation happens. It starts low, deep inside, and like wildfire, the smoldering spreads, quickly flooding my chest, my limbs, until I can barely breathe.”

Kent emphasizes Gareth’s reaction in this scene in order to codify Gareth as someone who innately looks for a submissive role in a sexual relationship and values praise within its dynamics, continuing the novel’s exploration of The Relief of Establishing Power Dynamics. Doing so heightens the notion that Kayden is the only person who truly understands and can provide for Gareth and his sexual needs.

“If it allows you to enjoy this better, think of me as forcing you, taking your will and fight and allowing you no way out just because I love to see you squirm.”

In this passage, Kent pushes the boundaries of Kayden’s morally gray character. By this stage of the narrative, Gareth has never given consent to sexual activities with Kayden. Kent, however, attempts to frame Kayden’s persistence as justified because he appears to know Gareth’s body, can provoke arousal, and provide pleasure in their encounters.

“It was your asshole that was being fucked, though. Very funny, demons.”

The presence of what Gareth calls his “demons” in his inner monologue is a narrative format that complicates Gareth’s personality. Rather than speaking doubts about his growing attraction to Kayden and validating his repulsion to him, his “demons” do the opposite and use his body’s reactions as confirmation that Kayden’s claim on him is legitimate.

“I’ve been thinking, and I believe maybe the reason he’s messing with my head—and, subsequently, my body—is because I can’t figure him out. His actions don’t match his profile, so maybe when they do, I’ll lose interest. I always do.”

In this scene, Kent implies how Gareth normally compartmentalizes individuals who have no emotional value to him. While he may say he “always” loses interest in those he doesn’t understand, this is demonstrated as untrue, given how invested he is in his family and friends and, eventually, Kayden. Rather, this passage implies that he typically never takes time to truly understand anyone because of his emotional underdevelopment.

“You despise the idea of submitting because it shatters the grandiose image you have of yourself.”

This passage demonstrates that even Kayden’s uncanny grasp of Gareth’s personality has its limits. While submission would destroy the proud and arrogant understanding Gareth has of himself, his refusal to submit speaks more to an underlying fear, as willful submission implies a level of trust Gareth seldom gives to others.

“Kill is the one person who resembles me the most. In a twisted way, I consider him someone who belongs to me. The other day, he was attacked and I felt murderous because I don’t like people touching what’s mine.”

Here, Kent outlines the infantile way in which Gareth understands social relationships. Rather than looking at Killian through the lens of a familial bond, Gareth proves that he can only understand human connection through ideas of ownership and irrelevance. One major aspect of his development over the course of the novel is the struggle to establish a real connection in his relationships, instead of concepts of ownership.

“I’m not gay. I’ve never been into men or found them remotely attractive. But if I’m honest, I haven’t exactly felt that way about women either. I’ve just gone through the motions because, well, society.”

This passage attests to one of the core tenets of Gareth’s personal growth throughout the narrative: redefining his sexuality. Kent implies in this quote that Gareth’s struggle to accept his attraction to Kayden has more to do with his ignorance of the complexities of sexual orientation than reticence or homophobia. In other words, he simply wasn’t aware that being attracted to someone like Kayden was a possible outcome for him.

“‘I won’t let you do it willingly.’ I swallow, my fingers twitching. ‘I can’t.’”

While this dialogue exchange attests to Gareth’s need to remain in control of himself at all times, it also highlights how inexperienced he is in asking for what he wants, exemplified by his nervous swallow and “twitching.” By and large, the narrative has showcased how Gareth’s wealth and connections have made his life easy, but an intimate act like asking to be submitted to penetrative sex is uncharted territory for Gareth, and while the tone is harsh and definitive, it nevertheless shows a rare vulnerability.

“I head straight to the safe hidden behind an obscure French artist’s painting and toss in the knife and Taser I picked up earlier. They join the others I’ve confiscated before.”

This passage highlights the developing dynamics in Kayden and Gareth’s relationship. Though Gareth persistently wields the threat of pain and violence against him, the accumulating evidence (the knives and Tasers) proves how hollow his threat is and that they have moved beyond their previous hostility toward one another.

“I might the one who fucks Gareth, but he’s the one who’s owning me inch by agonizing inch. Because I like kissing him more than I’ve like kissing anyone. My wife included.”

This passage serves as a watershed emotional development for Kayden. While the narrative typically attends to Gareth’s more tumultuous emotional journey, this instance is the first time Kayden openly speaks of his feelings for Gareth and how they surpass any feelings he had for his wife in the few short weeks they’ve known each other. Effectively, it foreshadows how Kayden will abandon his revenge and prioritize Gareth instead while also highlighting the complicated nature of their dominant-submissive relationship.

“You’re not the one giving up control, so it might have been easier for you to accept the sudden shift in your sexuality, but…”

In this dialogue, Gareth makes a telling equation: his self-control bears on his identity to the extent that it qualifies his understanding of his sexual orientation. To be in control of himself, therefore, is to hold onto the false notion that he isn’t attracted to Kayden and remain unfulfilled by his sexual encounters with women.

“He also really hates it when I scold him. Which is why I’m using those two edges to tame him better, balance his unhinged personality so he doesn’t commit any impulsive actions.”

This passage creates a sense of seniority and a nurturing trait in Kayden’s character. Though prior conversations and inner monologues characterize Kayden as being similar to Gareth in nature, he believes he’s overcome the “unhinged” side of his personality and mastered it in a way that Gareth has yet to achieve. Here, therefore, Kayden’s intent on molding Gareth speaks to his desire to give him the same mastery and impart his experience.

“The arrows remind me that no matter how tightly I try to hold everything in place, chaos is always lurking beneath the surface. It’s not about weakness or lack of discipline. It’s the tension and the constant pull between staying in control and being drawn to the uncontrollable.”

Gareth’s explanation of his tattoos qualifies how fearful he is of external factors. Though mastery can be obtained of the bow and arrow, nothing can be done about a variable like nature, which might affect the most practiced shot. In the same way, Gareth is aware that all his control may be completely unraveled by something, or someone, completely unpredictable, no matter how much effort he puts into keeping himself contained.

“From the start, I think I enjoyed how you dominated me and gave me no way out.”

In this sentence, Gareth underlines how, more than anything, he fears being held responsible for being uncontrolled. Part of his need to be “forced” into submission stems from wanting to be absolved from being held accountable for whatever action he makes or is made to take.

“Kayden scolds [Moka], and I immediately scoop her up and hide her away. What? She’s a sweet, innocent baby.”

Kent uses Gareth’s growing relationship with the cat Moka to showcase the softening of his violent tendencies and his growing capacity for connection. His burgeoning ability to protect and care for a smaller and more vulnerable being implies that his relationship with Kayden is beneficial to him.

“I release [Morgan], ignoring the tears welling in her eyes. […] Why am I so worked up on Zara’s behalf? I have no clue. Maybe because I hate the manipulations and […] lies. Figures.”

Kent uses this passage to demonstrate how, much as his relationship with Kayden engenders his growing appreciation for weak creatures like Moka, it also fosters his sense of empathy. Whereas his classmates were once only “bees” he disregarded or perceived as inferior rivals, here, Gareth shows regard for his classmate Zara, empathizing with her pain and disappointment with Morgan.

“My first instinct is to shake my head. I’m not a girl and while I love the subtle variation of feminization king […] I sure as hell don’t want him thinking I am an actual girl.”

Though Gareth’s feminization in their sexual encounters is not extensive, Kayden’s habit of attributing female qualifiers to him implies a misogynistic subtext that is never resolved within the narrative. Without context or explanation, both men seem to consider submission as a feminine role whose very femininity is necessarily degrading.