#and may very well see you talking about them that way

[anistarrose]

[ID: Tweets by Alexandra Erin (@AlexandraErin) as follows:

The Shirley Exception is a bit of mental sleight of hand that allows people to support a policy they profess to disagree with. It's called the Shirley Exception because… well, I mean, surely there must be exceptions, right?

Let's imagine that in response to suspicions about overbroad use of service animal rules, a city somewhere decides to just swing the pendulum 100% in the other direction. Restaurants, public accommodations, etc., no longer have to recognize any service animals.

And in the aftermath of the change, existing rules about where animals may and may not go apply full force.

A lot of people would back the change because Obviously Some People Take Advantage. (Positing that someone, somewhere is taking advantage is a great way to get the masses on your side in our politics, sadly.)

Now if you point out the existence of a blind person or an epileptic person who has a service dog for everyday navigation of life or for life-saving purposes, the Good People who just don't want anyone to take advantage will tell you:

"No one's talking about legitimate cases."

And if you point out that the rule that they're backing would affect what they call "legitimate cases", the response will be:

"But surely there will be an exception."

If you back up an anti-abortion activist to the point where they actually have to grapple with a case where the parent would 100% die delivering a 100% non-viable fetus, you'll get the same answers: "No one is talking about those cases." and "But surely there will be exceptions."

All of those studies of people in Trump Country USA who were shocked, shocked, that the kind man next door who is a good father and a great neighbor and a real part of the community was dragged away by ICE?

They all thought that surely he'd be an exception.

If you point out that the laws/policies they're talking about don't offer such exceptions and in some cases explicitly forbid them, if you say "So let's put those exceptions in writing."… well, then you're back to Surely People Will Take Advantage.

See, the people who are sure that Surely There Will Be Exceptions are very comfortable with the idea of justice being decided on a case-by-case basis. They've always had teachers, bosses, bureaucrats, even traffic cops giving them some slack for reasons of compassion and logic.

I mean, if Officer Smalltown von Cul-De-Sac could give them a warning when they were caught with recreational amounts of pot as kids because it was harmless and they Had Futures, then Surely there must be similar exceptions for everyone?

That post about "I never thought the leopards would eat my face, sobbed woman who voted for Face-Eating Leopards Party" is very true, and it goes farther than personal immunity to a very generalized and broad Just World Fallacy.

Surely, they think, surely the leopards will know to only eat the right faces, the faces that need eating, and leave alone all the faces that don't deserve that.

But if we try to lay out rules to protect faces from being eaten by leopards, people will take advantage. Best to keep it simple and count on decency and reason to rule the day.

So moderate conservatives, what we might call "everyday conservatives", the ones who don't wear MAGA hats or tea party costumes and think that Mr. Trump fella should maybe stay off of Twitter, they will vote for candidates and policies that they don't actually agree with…

…because in their mind the exact law being prescribed is just a tool in the chest, an option on the table, which they expect to be wielded fairly and judiciously. Surely no one would do anything so unreasonable as actually enforcing it as written! Not when that would be bad!

And then they are confused, shocked, and even insulted when people hold them accountable for their support of the monstrous policy.

"I didn't vote for leopards to eat your face! I just thought we needed some face-eating leopards generally. Surely you can't blame me for that!"

The old "Defense of Marriage" laws are another textbook example of this.

Many of them included language that expressly forbade giving similar benefits (like hospital visitation) to same-sex relationships.

Yet the people who voted for them, in many cases, wanted it to be known that No One Is Talking About Stopping You From Visiting Your Loved One In The Hospital. And Surely There Will Be An Exception.

The Shirley Exception is how people who are only mundanely monstrous, moderately monstrous, wind up supporting policies that are completely monstrous.

And when they do, they always want credit for their good intentions towards those they see as deserving, not the outcomes.

I'm describing a phenomenon here and I don't have a solution to its existence. While convincing people that laws that don't specify exceptions functionally don't have them might work sometimes on (ironically) a case-by-case basis, what is really needed is a broader shift.

People need to get used to thinking about the harm policies will do as a real part of the policy, not a hypothetical that Reasonable People of Good Will Can Surely Work Around.

Maybe the tack of saying, "If it was your life on the line, wouldn't you want that to be in writing?" would work. I don't know. Like I said, I don't have a solution here. This is just a thing that happens.

End ID.]

The Shirley Exception

[temiizpalace]

☆┊MAY I HAVE THIS DANCE?

SUMMARY: many heroes wished to share this dance with you, yet you chose him.

CHARACTERS: HEARTSLABYUL

GENRE: fluff

OTHER: heartslabyul savanaclaw octavinelle scarabia pomefiore ignihyde diasomnia

NOTES: thank you for an entire year, tumblr! as celebration for my first anniversary, have a small mini scenario as a token of my gratitude.

reader is g/n, reader is yuu

PROLOGUE ☆˙∘

excitement fluttered within the confines of the classroom. a nationwide gala was being held this evening for students all over twisted wonderland, and this years selected host was none other than the prestigious night raven college. you couldn’t help but feel a little nervous with how everybody spoke of such an event.

even if dances weren’t your thing, it was still worth it to go, right? “myah.. what’s with all the blabbering? it’s just a borin stuffy ball, right? all ya do is stand around for hours. i can guarantee ya not everyone’s gonna have a dance partner.” grim huffs, beginning to grow annoyed with the gossip.

“well, there’s going to be food from all over the region. at least then we’d have something to do, right?” you grin, your partner in crime suddenly very excited for the dance. “why didn’t ya start with that?! we needa go prep our outfits right now!”

evening came sooner than you anticipated. as chaotic as nrc was, somehow this was 10x as lively as usual. everybody had spoke with someone new while you were stuck at the snack bar with grim. a new face appears, wishing to have a small chat.

🌹┊RIDDLE ROSEHEARTS∘˙✩

“so you’re the magicless prefect, hm?”

a young boy leaned on the table, his unexpected presence startling you. “and you are..?” you question, curious as to how he knew you. he looked unfamiliar, but you couldn’t help but notice his pristine and well dressed appearance. he was handsome, certainly.

“where are my manners? amias reinheardt, a pleasure.” he smiles, bowing slightly before you. “i have heard lots about you, meeting you in person is truly an honor.” the way he spoke so highly of you was flattering, it was almost too much. but all his praise leads back to the same question: how does he know you?

“it’s nice to meet you, but how do you know me exactly?” you ask, raising your brow. “you’re quite popular. my classmate neige had many things to say, i just had to meet you myself.” he chuckles, and suddenly it clicked. classmate? “you’re from rsa?”

“correct you are.” he chuckles. now it all made sense. he was surprisingly chatty, but not in an off putting way. it was actually nice having someone not stuffing their face anytime you tried to talk to them. however, your chatter and laughter caught the attention of a nearby redhead.

“riddle, calm down.” trey sighs, seeing as riddle grit his teeth from afar. “what are you on about, trey? i am perfectly calm.” unfortunately, riddle was not raised as a good liar. “just go up to them, im sure it’s fine.” the boy in glasses sighs, adjusting them so they don’t fall off his face.

“it’s rude to interrupt conversations, you know.” riddle frowns, crossing his arms. despite his attempts to act unbothered, his gaze would still find its way back to you. seven why must you do this to him?

maybe he should just go over there. why fight it if there’s nothing to gain but seething jealousy?

a slow song starts to play, students suddenly stopping and taking their partners to the floor. amias paused as well, looking to you with a small smile. “oh? prefect, shall we?” he holds his hand out to you, waiting for you to take it.

riddle, on the other hand, was not going to stand for that. “[MC].” riddle struts over, causing you to whip your head over in his direction. “riddle?”

“may i have this dance?” he puts a hand behind his back, bowing slightly while reaching out for you. “pardon?” amias interjects, looking to riddle then back at you. “i believe i had asked first.”

oh. taken aback by their sudden proposals, you had to take a moment to ensure this is reality and not some weird vivid dream you were apart of.

you hesitate for a moment before taking riddle’s hand. “im sorry amias..” you mumble, shooting him an apologetic look. “don’t be. maybe someday..” he trails off, watching as riddle led you to the dance floor.

“at least try to be more cautious around strangers, prefect. not all of them have good intentions.” he sighs, waltzing you around the ballroom. his movements were refined, not perfect but not imperfect either. he made sure not to step on your foot no matter how bad your dancing may be.

“oh come on, he wasn’t a bad guy. maybe you’re just jealous.” you laugh, his silence a clear enough answer for you. his cheeks were red, but it was far too endearing.

“i wouldn’t want to share this dance with anyone else, riddle.” you hold a firm grip on his hands as you spoke, unable to hide your own flustered expression in turn.

“..im happy to hear that, [MC]..”

❤️┊ACE TRAPPOLA˙∘✩

“you [MC]?”

you turn to find a short boy invading your personal space, taking a few steps back to get a clear view of him. “uhm.. yes? and you’re.?” you answer, confused. his outfit was a tad disheveled, like it was barely put together. there were wrinkles and folds in his suit, but he had an odd charm about him.

“alan. alan fletcher. upcoming star player for rsa’s basketball team.” he grins triumphantly, his expression almost cocky. “ohh, i have a friend in basketball!” you reply, making the boy flinch.

“what?! err i mean, i heard a lot about ya. popular dude from school talks about you sometimes.” he shrugs, like he was reading your mind. you were just about to ask how he knows you!

“well there’s not much to know about me.” you laugh awkwardly, fiddling with the ends of your sleeves.

“yeah right, you’re from a different world! cmon, talk about it! im curious. what’s different there?” he asks, leaning on the table. it’s been awhile since you’ve last got to talk about home. with all the chaos at nrc, you’ve almost forgotten you’re trying to look for a way back.

“i guess there are a few things.” you chuckle, causing the boys heart to flutter.

ace frowned from afar, an unfamiliar feeling of jealousy coming over him as he stared. “ACE, THATS WAY TOO MUCH PUNCH! STOP POURIN.” deuce yells, his cup overflowing and spilling onto the tablecloth.

ace looks to deuce. he was absentmindedly scooping punch into his cup without realizing it. “gah, we need napkins! professor crewel would kill us if he saw this.”

while deuce was fretting over the spill, rushing over for napkins or any cloth he can find to mask the spill, ace felt lost. has he always been this jealous over you? i mean, sure he’s given a few dudes the stink eye every now and then, but this felt different.

the song changed abruptly, everyone now finding a dance partner or stepping off the floor. alan looks at you, waiting for you to say something. you try to avoid his gaze, his stare beginning to grow unsettling.

breaking the silence, alan spoke. “hey, do you wanna—”

“yo! [MC]!” ace shouts, running over to you with a cheeky grin. “been lookin for ya. cmon, let’s dance!” he grabs your hand, pulling you towards the middle of the ballroom.

“what?! hey!” alan calls out for you, but by the time you turned around to apologize, he was already out of sight.

you frown at ace, to which he scoffs in return. “what?”

“that was a bitch move, ace.” you pinch his nose, causing him to wince in pain.

“OW! look, we can apologize later. shut up and dance for awhile!” he chuckles, spinning you around.

“thought you were gonna dance with deuce. you jealous?”

“..i said shut up dance.”

(deuce was pissed to see ace leave him with the stain but at least you’re having fun).

♠┊DEUCE SPADE∘˙✩

“are you the student with no magic?”

a boy in a tacky looking hat smiled at you, making you stare for awhile before finding his eyes. aside from his hat, his suit was quite.. eccentric. colorful, for sure. somehow it all tied together, but he would most definitely stand out in a crowd. “i am..” you nod slowly.

“the names thistle!” he grinned, holding his hand out. as you reach out to shake his hand, he pulls a rose out of his sleeve and hands it to you elegantly. somehow this guy reminds you of a certain somebody in pomefiore.. interesting.

“are you familiar with che’nya? i know he sneaks onto your campus at times.” he laughs.

“i see him at unbirthday parties. didn’t know he talked about me so often.” you chuckle, finding the thought flattering.

“he tells me you’re from another universe. care to talk about it?” he asks, resting his chin on his hand.

“hm.. to kill time i guess.”

deuce stared at you, his expression blank and empty. you were laughing and having a good time, he should be happy, right? why does his heart ache so much?

seeing you with a rose in hand and a huge smile on your face would be such a breathtaking sight if it weren’t for who was next to you.

ace took notice of deuce’s expression, or lack of thereof. he smirked and nudged him gently. “looks like the prefect is hot on the market.” Ace teased, a cocky grin on his face.

deuce shoots him a glare, suddenly frowning at his partner in crime. “shut up! they can talk to whoever they want! im not jealous.” he huffs, crossing his arms.

“i never said anything about jealousy. yeesh, lighten up.” ace holds his hands up in defense, backing away slowly. “if you’re really upset just go talk to em. im sure your presence is welcomed with open arms anyway.”

“you think so..?” deuce felt his eyes lighten up, his gaze averting back to you.

the ballroom crowded to the center, students finding their partners to dance to the slow rhythm. thistle looks at you, putting his hand out. before he can even ask, a loud shout from across the ballroom stops him in his tracks.

“[MC]!!” deuce sprints over, stopping in front of you while panting for breath.

“deuce?! where did you—”

“WOULD YOU LIKE TO DANCE WITH ME?” he asks in between breaths, eyes shimmering in a newfound confidence. realizing he sounded a little pushy, he finally regulates his breathing and asks once more.

“uhm— i meant uh.. may i have this dance.?” he holds his hand out, bowing slightly before you.

you look to thistle, he smiled and gestured for you to take deuce’s hand. before taking off, you mouth an apology before turning to deuce and bringing him to the center.

“you didn’t have to run, yknow. i would’ve turned him down anyway.” you laugh, noticing deuce’s stiff movements.

“s-sorry. i guess i was just scared.” his dancing was robotic, missing his steps constantly. he stepped on his foot, but you managed to pick up the slack.

“ah! sorry!” he mumbled an apology, to which you grin in return.

“don’t worry, we can work on your dancing together. how about next week?”

“r-really?”

“really. consider it a date.”

“A DATE?! oh, i mean— sure. sounds good!” despite deuce’s attempts to seem calm and collected, he couldn’t hide the dopey grin spread across his face.

♦┊CATER DIAMOND˙∘✩

“so it’s true! nrc does have a student without magic!”

a startling shout from your right catches you off guard, turning to meet a rabbit beastmen with a huge smile. he wasn’t really wearing a suit, more of a vest. it wasn’t buttoned up all the way, but you must say he had really nice hair. looked so smooth.. “uh, tadaa?”

“what’s your name?” he asks, looking at you intently. “what’s yours?” you asked in turn, putting a hand on your hip.

“woah, woah, i asked first didn’t i?”

“well you initiated the conversation.” you shrug.

“alright, alright. im timothy parker, and you are?”

“[MC], nice to meet you.”

“i’ve heard so much about you from a friend of mine! we should get to know each other! have you played 20 questions?” he was a quick talker, you barely had time to reply before he talked about something different.

“i think ive played before.” you recall, nodding your head. “cool! ill start then!”

cater watched you, two drinks in his hand held firmly within his grip. he wasn’t one for jealousy, but something about this guy doesn’t sit right with him. his expression was usually so well hidden, but he couldn’t hide his frown. riddle took notice of cater’s dismay and raises a brow.

“cater, the drink might spill if you hold the cup so tightly.” riddle sighs, catching the attention of the boy beside him. “whoopsies! sorry, riddle! got a little distracted, haha!” he tries laughing it off, but that only makes him less believable.

“is something bothering you?” riddle questions, crossing his arms while looking in the direction cater was staring at.

“nope! don’t worry about it, cay-cay is fine!” he gives riddle a wink before walking towards you with a smile. “[MC]! heyy!”

you turn to see cater approaching, flashing a smile before waving enthusiastically. “cater!” timothy looks over, his smile faltering slightly at the sight of a new face.

“timothy, cater, cater, timothy.” you introduce them to each other. both boys stay silent for a moment before breaking the silence with a few casual greetings and fake smiles.

“hii! names cater, [MC]’s bestie!” cater hands you a drink, to which you eagerly accept. “hello. im timothy.” he replies dryly, much different than the way he greeted you.

the conversation flowed normally, though you chose to ignore their obvious distaste for each others presence. such cheery guys choosing to hate each other instead of bond, it made you kinda sad.

the music shifts to a slow song, cater immediately looking at you with a smile. “[MC], wanna dance?” he asks before timothy could, not failing to see his frown. cater put out his hand, gesturing for you to take it.

you felt your cheeks warm up. you put your drink down to hold his hand as he takes you away from the snack bar.

“isn’t this fun!” he beams, waltzing around with you. “i should take a photo!”

“if you do, you should send it to me. we can have matching profile pics.” you laugh, twirling him around.

“that’s so cute! smile for the cam!” he holds his phone up, snapping a quick photo of you two together. he posts it quickly, putting a string of emojis on the caption before putting his phone away and spinning you both around the room.

your smile means the world to him. it always will.

he didn’t want a viral post, he just wanted to keep your smile preserved for all time.

♣️┊TREY CLOVER∘˙✩

“boo!”

you jump, turning to find a floating head beside you. that head looked familiar. “che’nya?”

“meow how’d you guess?” suddenly, in the blink of an eye his full body appeared. his outfit was definitely not up to dresscode, lots of patches stitched onto an already brightly colored vest. it does suit him, but it feels like you were flashbanged.

“just a hunch. did you need something?” you ask, only to be met with his usual catlike smile. che’nya looked somewhere, grinning mischievously before averting his attention back down at you.

“wanna see a trick?”

“uh, sure?” and with that, he pulls out a deck of cards. he gestures for you to take one before suddenly changing the deck into a full tea set.

laughing in amusement, trey couldn’t help his heart from singing. why did his damn friend need to tease him like that? he clenched his fist tightly, feeling a little embarrassed for being jealous like that.

“trey-trey, let’s take it down a notch! che’nya’s just playing!” cater reassures his friend, patting him on the shoulder. trey sighs, adjusting his glasses properly.

“i know.. i shouldn’t even be jealous. it’s not like we’re together or anything.” he laughs awkwardly, making cater tut in response.

“don’t you see the way they look at you? when they bake with you it’s more than just being a helping hand, yknow?” cater crosses his arms, causing trey to stiffen.

“huh?”

“enough chit-chattt, let’s go join their convo!” cater drags trey to the snack bar, actively ignoring his protests and obvious refusals.

the melodies of slow violin play across the ballroom, students around beginning to slow dance.

“now’s your shot! go!” cater shoved trey towards you with great force. trey nearly fell to his knees but he managed to find his balance before he embarrassed himself.

“GAH!”

che’nya smirks, pointing behind you. “what?”

“trey?!”

“[MC],” trey puts his hand out for you. “may i have this dance?” a small smile hinted at the corners of his lips, you swore butterflies began to erupt in your stomach.

“it’d be an honor.” you take his hand, leading him away to the middle of the floor.

trey was surprisingly good at slow dancing. much better than that time with the ghost bride. “taking dance lessons, clover?” you ask, laughing as he averts your eyes.

“i’d rather not humiliate myself for a second time, haha.” he chuckles, swaying you around.

“i was honestly a little jealous seeing you have a good time with che’nya.” he admits, in which you burst into laughter in return.

“whys that? im sure you know he was just playing?”

“you can never be too sure.”

“don’t worry trey, this dance was reserved for you.”

“that’s reassuring to hear..”

A/N: names for these NPCS were harder than the actual fic 💀💀💀

date published: 11/27/24

© temiizpalace — do not copy, steal, or put my work into ai. thank you!

divider found here! ☆

[writingwithfolklore]

Who holds the power in your scene?

This is something we really explored during my time at film school, and is easier to see on the screen but still very applicable on the page. Essentially, in every scene there is one character who is holding the power—meaning they are driving the conversation, driving the action, they are in control because they are going after a goal, and if they are in power, are going to get the closest to achieving it. Every character should have some sort of goal going into every scene, and thus the power can and should shift between characters within the scene to create more interesting dynamics. So how do we do this?

1. Understand each character’s goal—and who is going to “win”

Each character comes into a scene with expectations that form their goal. Let’s do a breakup scene. Character A comes in with the expectation to go on a hike with their partner and have a good time. Their goal may start out as something simple like: “have a good time on this hike” or “avoid fighting with Character B”. Character B is going into this scene knowing they are going to breakup with character A, their goal is to literally just breakup with them.

If we know, as the author, that Character B is going to be successful, we know that this is their scene and they will ultimately hold the majority of the power. Vice-versa if Character A is successful in achieving their goal.

In knowing that, we can get into the actual mechanics of a power shift.

2. Character spacing and movement

Spacing and movement is the most obvious aspect in filmmaking, but may be forgotten on the page. In our example, I would place Character B ahead of Character A on the hike so that they are standing slightly above them on the incline. When they begin discussing their breakup, I would turn them around. Subconsciously, we know that B is “lording” over A, they have the high ground (har-har) and thus are the more imposing, powerful person.

Even the act of turning around would be a display of this power. So I would write it as,

B: Listen, I’ve been meaning to talk to you about something… I just don’t really think either of us are happy—I don’t think this is really working anymore. A: What are you saying? B stops walking, turning on their heel to face them. B: I’m saying I want to break up.

3. The Driver of Conversation

Seen a bit in the last section, whoever is driving the conversation, steering the topic and tone, holds the power. You may notice throughout dialogue that there tends to be a questioner and an answerer, or someone providing the action while the other(s) are reacting.

A: I thought we were trying to connect more. Isn’t that what this stupid hike is about? B: Well it’s not working. I’m sorry. I’m done trying.

However, a character can grapple for and shift the power by calling them out or otherwise steering the conversation in a way that they would like instead. At this point, A would likely have shifted their goal from “having a good time” to proving that they were right about some change they picked up on, or in another case, may be trying to convince them to not breakup. If you allow them to “win” for a portion of the scene, you can reverse the power.

A: This is because of that person you met at work isn’t it? How dare you try to pretend that it has anything to do with me. B: Hold on—this has nothing to do with her… A scoffed, stepping forward on the incline. A: You are such a liar. You have been since the day we met. I don’t know why I ever trusted you.

B: I didn’t lie about that. I swear.

And let’s reverse the scene back:

A: What is it then? What is this really about? B: We’re just too different! I’m sorry. B steps past A and starts walking back the way they came.

Power can shift because another character took it, but it can also shift by the character in power giving it up, either intentionally or unintentionally.

4. The leader of action

Otherwise, the person who directs the action; is winning the fight, points out directions or creates the plan, or otherwise is determining where the characters go next or what they do next, holds the power in the scene. A grapple for power doesn’t necessarily need to be verbal but could rather be two people going opposite directions and one of them relenting, for example. This one is more obvious because it’s very visual, but is still an important aspect to how characters “win” or “lose” their goals in a scene.

[seasprincess]

cowboy!rafe and mayors!daughter

he’s here😋

Warnings:suggestive talk but no actually s3x, author doesn’t know cowboys that well

Being the daughter of mayor meant two things. One everyone knew you. And two, you were off limits unless your father had approved of the guy. And he’s a tough man to please.

Many men have tried. And many men have failed. Your father saying they aren’t rich enough, or smart enough or classy enough. But it wasn’t all down to him. All the bachelors that have come your way have not been what you see fit. Because you may or may not have your eye on a certain scruffy cowboy.

Rafe knows you’re off limits, he knows that there isn’t a world that he could be with you. You’re like a diamond and he’s a measly piece of copper. You’re clean, tidy and proper and he’s a muddy, loud mouthed cowboy who gets in trouble as easy as it is to breathe. You are out of his league in so many ways.

But there was one positive of being a cowboy in this situation. He knows his way around horses. And your family just so happened to be looking for a stable boy as you begged your daddy for a pony. Even though you know nothing about them or how to care for them. Or ride them.

And he was keen to help you out.

Rafe has been working for your father long enough to secure that job working at the stable. He’s perfect for the roll. So of course there was no hesitation when he asked. He got it straight away. Your father was beaming to get you and that damn horse off his hands and onto a trusted person.

This is definitely an upgrade from his usual jobs.

Your cute new ‘cowboy’ boots lead you down to the stables. Wind blowing your white dress a bit The suns out and it’s perfect for a day of riding. Apparently.

As your heels reach the wooden floor of your new stable, the sound makes a certain muscular cowboys head turn around from the hay.

“Howdy.” The word drawls from his lips and you just can’t help immediately getting flustered. God dammit. All he said was hello. Well ‘howdy’. This boy is trouble and you know it. But you just can’t stay away.

A moth to a flame.

“Daddy said you’d help me ride.” Your fingers make their way to your plaits, fiddling with the bands as you look at the cowboy. His hat the very one you bought him for his birthday. He lives in that hat because you brought it for him. Eats, breathes and probably sleeps in it too.

“That’s right darlin’.”

God even his voice just makes you feel a certain way you shouldn’t be feeling. Dad said not to get involved with this type of crowd. But here you are. Getting involved.

“She’s all set up for you. Just need to get on.” Rafe says as he twiddles a toothpick inbetween his teeth, eyes locked onto you and the way that dress is just the right length for him. Perfect for his thoughts later when his hand is wrapped around his shaft, touching himself to the idea of you.

He couldn’t help notice the cut off the top of your dress. The way your perky breasts were on show. God did you want to kill him?

“What if it chucks me off? What if it-”

Rafe cuts off your rambles with his hand as he looks at you. You begged for this horse and now you refused to get on it.

Classic.

“How about you ride with me? She likes me.” Softly Rafe brushed the horse, eyes never leaving yours as he tilts his cattleman hat back. He takes the toothpick out and chucks it on the floor. Rafes been riding horses since he was a young boy, so he could teach her a thing or two about riding.

In more ways than one.

“You sure?” You ask sweetly, actually praying he means his words. That he will ride with you. Because you need him on that horse with you for reassurance. For help. To teach you how to do it properly without dying, or hurting yourself. Which you know would happen. Your clumsy ass would fall off with in a minute of being on her. Her being maple the very horse that’s huffing in front of you.

You called her maple due to the fact earlier in that day that you got her you had spilt maple syrup down your new dress. The marks still there today. It’s a bit of a stupid reason but to you it’s cute. And Rafe just thinks you’re the cutest thing ever so of course he thinks it’s cute too.

“Yeah course doll. Let me help you up.” Rafe hops onto the horse with ease. It’s sort of mesmerising, hypnotic even, that someone can be so effortless at something that takes you a lot of effort.

“Put your left foot in there darlin’.” Rafe points to the stirrups. At least you know one thing. His other hand is out towards you so that your little hand can just slip so perfectly into it. The impure thoughts that flood his head about them are something that would send him to hell. Good thing he doesn’t go to church.

Your boot slips into the stirrups as you pull yourself up. Pulling on his hand as you hoist yourself up. Your legs swing over the horse as you slot in perfectly behind him, gripping in to him like a koala bear.

And Rafe just thinks you’re so cute.

“You ready?” He says as his hands find the reigns, the horse moving slightly as you grip to him tighter. Still worried about this whole situation. But something in you is excited. And enjoying being close to the cowboy.

Those little butterflies that appear in your stomach when you see him chopping wood or when he’s been out all day and is sweaty. The little white shirt highlighting his muscles. Making your panties wet.

Well those butterflies have grown bigger. Finally touching those muscles you’ve been thinking about. Of course you’ve had a few small touches here and there. Doing those things where you pretend to be feeling how strong he is.

You know he’s strong, he knows he’s strong. He’s proud of it. He’s always flexing his biceps in unnecessary times. Just to show off to you.

Cause unknown to you, he sees the way you cross your legs and advert your eyes from him embarrassed. The way you stare at him when you don’t think he’s watching. But he knows. He sees.

Your soft clean hands are wrapped around his waist. Your nails painted a nice pink colour. The difference between yours and Rafes hands is incredible. His are rough, dirt under the nail and cut hands. All that labour he does for your father. Wearing them down over time. And you’ve never worked a single day in your life. Your hands are soft, clean and cared for.

Your chest is pressed against his back, chin on his neck as the horse trots along in the field. The warm beeeze of the afternoon air kissing your face. You’d be lying if you’d say you weren’t scared. You’ve never properly been on a horse before. Thank god for Rafe.

“Calm down darlin’. You’re fine.” He says like he can read your mind. Tilting that god damn hat back again. He can’t leave it alone for five minutes.

“I’m just a bit scared.” You admit. Rafe makes you feel safe, with that southern drawl and sweet words. God is he so sweet. You just can’t help thinking about him late at night when your frilly nightdress is pulled up and finger rubbing that lovely spot in-between your legs. If only you knew what he did too.

“Well bless your heart.” He smiles as he keeps a hold of the reins, guiding the horse on this journey that he is loving. A pretty girls tits pressed against his back as he trots on a horse? He’s in heaven. “‘M gonna give you lessons in riding.”

If only you knew just what that means…

a/n: okay girly pops i’m going to write a part 2 to this maybe. this was a tad bit based of of Hannah Montana icl.

divider- @anitalenia

tags- @littlelamy

[egoistnana]

SOME OF YOUR LOVE

;; in which yn’s famous friends introduce her to long time crush itoshi rin! 🪽💌🥂

itoshi rin x f!reader ;; 🪄🐆🫀🌟 ;; masterlist ;; prev ;; next

warnings: will be slightly suggestives at points, all characters are aged up and most characters may or will be ooc.

2; friendsgiving

of course you had to wear something at least somewhat skimpy if you were gonna see rin for the first time tonight. you didn’t know if this was gonna be your first and last time seeing so you needed to make somewhat of a impression.

you finished touching up your makeup and hair once the clock hit 8:30. you double checked yourself in mirror. you had to admit that you looked good and hoped rin would think the same.

you heard your phone chime and knew it was karasu saying he was at your house. you walked out your door after getting your purse and placing your lipgloss in there. you felt the cold breeze and immediately regretted not bringing a jacket to prove your point of looking good.

“someone’s cold” karasu scoffed while getting out the car to open your door.

“what a gentleman karasu” you said before hugging him.

“whatever man just get in” he said while returning the hug.

you smiled at him while pulling away and got into the passenger seat. karasu closed the door and walked back to the drivers seat.

“how longs the drive” you asked while connecting to aux.

“15 minutes” karasu said while looking through the back window and placing his right hand behind your seat.

you quietly put on some music while conversing with karasu.

“you excited to see rin? i mean hell- you can definitely tell” he said while looking down at you and your dress.

“just wanna make a good impression” you replied while shrugging.

karasu looked at you before looking back at the console to follow the gps directions. once you pulled up to bachiras house you took out your phone from your purse to open the camera app. you reapplied your lipgloss while karasu touched up his hair.

“okay let’s go” you said after smacking your lips.

karasu got out the car first and once again opened your door.

“okay seriously what’s with opening my doors” you said while getting out and straightening out your posture and dress.

“gotta let the ladies know im a good man” he said while grabbing your purse and closing the door. he handed you your purse and you took it into your hands.

“they’re gonna think we’re dating karasu” you scoffed while walking up to bachiras house.

“they always do” karasu sighed.

you two walked up the stairs and karasu knocked. while being greeted at the door by bachira karasu put his hand on your lower back though bachira wasn’t the only one who saw that. bachira pulled you into a deep and warm hug.

“im so glad you could come yn! you look so good” bachira said while smiling.

“thank you bachira you don’t look so bad yourself” you giggled while you both pulled away.

bachira greeted karasu and welcomed you both into his house. it was very nice and spacious. you spotted reo with nagi and chigiri with kunigami and what seemed to be rin. you felt yourself tense up once you noticed he looked over to your way after chigiri called your name.

“yn!” chigiri said as you walked over to him.

“hi chigiri, hi kunigumi” you said while giving them both a hug.

“oh- uh hi im yn” you said while looking up to rin.

“im rin” he said in a monotone voice but even then it made you feel something.

“nice to meet you” you said while smiling up at him.

“you as well” he said leaning back on the counter.

“hey dude” you heard karasu say to rin.

rin waved at him slightly before drifting his attention back to you. you didn’t notice since you turned your back to face him while talking to nagi and reo. they both had cups in their hands and you knew they were already drinking.

“you want some?” isagi offered you some while holding a cup towards you.

“no sorry i don’t drink thank you though” you politely declined as he put the cup back on the counter.

something about that made rin more intrigued in you. that and the fact that you were one of the few girls there.

rin had moved past you and sat down at the table next to chigiri and kunigami. the two were talking about irrelevant things that didn’t matter to rin. he looked at his phone before looking back at you. you were talking to karasu while playfully pushing him. with that he immediately assumed the two of you were either dating or talking. the playful banter and you two coming in together made it set in stone in rins mind. he didn’t care though. right?

a few minutes pass and everyone was sitting down at the table but you. you were in the bathroom and by the time you came out everyone was talking and eating. fortunately the only open seat was next to rin. you walk over to the chair.

“is someone sitting here?” you asked while one hand tapped his shoulder and the other pointing at the chair.

“no” he said while turning over to face you.

“okay” you replied while smiling at him and sitting down.

“you aren’t gonna eat?” he asked when noticing you were the only person without a plate.

you shook your head.

“im not hungry i ate beforehand” you said while playing with the rings on your fingers.

he hummed in response while looking at you picking at your rings and nails. he noticed your medium length dark red nails and your jewelry.

isagi and some other boys were asking rin questions about his life and only one certain question made your ears perk.

“do you a girlfriend?” you heard a girly voice ask.

“no and i’m not interested in one” rin said while not looking at the girl but at his phone.

a part of you felt relieved he rejected the girl but the other part of you felt upset since he wasn’t looking for one.

the girl scoffed silently and walked by to the counter to get a drink after that.

a few hours past and a lot of the boys were either tipsy or drunk. karasu sat next to you and rin and sighed.

“im gonna have to drive them home” karasu complained while throwing his head back and rubbing his face.

kunigami dragged karasu to get up after that leaving you and rin completely alone at the table since the rest were in the living room.

the silence was slightly awkward since you two didn’t know each other.

“you don’t drink?” you said after gulping and building up the courage to talk to him.

“no never really liked the taste or the idea of it” he replied while looking beside you.

“what about you?”

“me neither, i’ve never tried it though” you replied while nodding slightly.

after a while of silence and the both of you on your phones rin got up to use the bathroom.

karasu dragged you to get up with him.

“where’s your sweet rin?” he laughed.

you sighed and shrugged. you sat down in the living room with otoya and karasu.

“i haven’t seen you in forever yn” otoya said while giving you a side hug.

“i know karasu has been hiding you from me” you said while returning the hug.

while catching up with otoya you noticed rin come into the living room and smile at him due to the both of you locking eyes.

he gave you a small smile in return and sat next to a boy with light blue hair.

“i think that’s the last guy you would ever want to get with” otoya said before drinking out of his cup”

“what why? i don’t even wanna hear it from you you’re the biggest slut ever” you said while rolling your eyes.

“i’ve been telling her that” karasu chimed in.

“celibate final boss- not even celibate he’s just girlfriend prone, always throwing away his chances with baddies to focus on soccer” otoya said while placing his cup down.

“thats never stopped anyone though” you replied.

“it should stop you” karasu said annoyed.

after a few more hours the clock hit 1:45 am you, karasu and a few others he was taking home said your goodbyes to everyone.

“leaving without his number” karasu said while walking out bachiras house.

“shit you’re right” you responded. in panic you went back into the house and looked for rin. when you spot him saying bye to bachira you came up to him waiting for him to finish up.

“yeah?” rin said looking down at you noticing you went up to him.

“could i get your number?” you asked while batting your eyelashes at him unintentionally and holding out your phone slightly.

rin looked at you seriously and took your phone. typing in his number his other hand ran through his hair.

“thank you- bye!” you said hurriedly while leaving quickly to go back to karasu.

at the end of the night you succeed talking to rin and getting his number.

authors note!

LOOONGG CHAP. im keeping u lovelies fed 🥰🥰

[ir-abelas-vhenan]

Something Something Yeah It's Still Solavellan Hours (Mythal is kind of here, too)

I've seen a few very beautifully articulated posts talking about the conflicted responses players are finding themselves having in regards to the decision by writers* to have Solas' atonement route possible because of his conversation with one of the remaining fragments of Mythal.

(*honestly I hesitate to put the weight of bigger game events on their shoulders because of how much I know bigger players in the company were involved, so when you read 'writers' know I just mean whoever had final say on plot)

I love reading where people are at on this, and having now breathed, re-played the scene, cried, read some more theories, and then played the scene again enough times I think I'm now able to figure out where I'm at.

TLDR: in my humble opinion, the conversation Solas has with Mythal doesn't bring him any actual closure at all. It is only the version of the atonement ending that has Lavellan in which he is actually set upon a road to redemption.

This, like everything else where I lose my mind, will be long. I tried to restrain myself and here we are, unhinged as ever.

I was unhappy at first that Mythal's incredibly brief conversation with Solas where she releases him from her service seemed to be what finally allowed him to make a decision based on his wants and not hers. My concern stemmed mostly from the fact that a lot of us are trying to be active participants in a society that recognizes patterns of abuse and seeks to establish channels through which individuals can pursue healing without the approval, consent, or demise of their abuser.

But the more I look at the scene, the more I wonder what would have happened in a world where Veilguard got just a little more time in development. Could we have gotten a scene that more elegantly conveys the theme that we cannot heal every part of our loved ones, much as we might like to?

In an imperfect world it isn't always up to us how someone finds closure, which really sucks when you'd like to ensure a loved one finds it in a way that preserves their dignity and limits exposure to the individuals who have harmed them.

And while it could be left there, I'd like to actually push back on the idea that Mythal is in any way responsible for "healing" Solas in this moment.

I went on a different tirade a few days ago about how at the end of Inquisition, Mythal says words to Solas that on their surface seem well-intentioned or placating, but they actually just serve to further bind him in guilt and a position of servitude. In Veilguard's finale, she still does not take accountability for exactly how much of a role she played in the pain that Solas, a man others have revered and feared as a god, has gone through as he cowers, actually cowers before her.

Mythal's interaction with Solas conveys exactly two things to him as far as I am concerned (I'm going to botch these quotes but my laptop is dying so please accept some paraphrase as I rush to finish this before I go cry about this analysis to my uncaring dog):

"The terrible things we did, we did together." You are forever tied to me.

"I release you from my service." But what am I releasing you to?

Because up until Lavellan joins the fray here, all I take away from the physical and unwilling emotional cues Solas gives in this scene (he is a master in trickery, for goodness' sake, the thought of so many witnesses seeing him unable to hide behind a mask has to leave him feeling anguished on top of everything else) is that Mythal has once again reminded him of everything he did in her name and telling him that all that's left for him is to go back to the fade prison and, as he as always done, endure the crushing weight of his failures alone.

To me, in my interpretation, the Solas that hears this from Mythal with no Lavellan intervention may choose to willingly step down from his original plan (and yeah, that's gonna do some damage) but he is certainly not free of his past. He's going to be reminded of it every time he turns a corner and finds more blight to try and soothe, and even the moments that he rests will be filled with more manifestations of his regret. He says it himself: where he's going? It's terrible.

Enter Lavellan. Yeah, he couldn't bring himself to listen to her at her first plea (but like damn how many times are we going to have to watch her give a heartfelt speech only for him to be like 'something something beautiful elven rejection'). But I know that you know that our clever icon knows better than to take what Solas says at face value. She tells Rook plainly that he's absolute dogshit at lies of the heart, and she says it with her whole chest.

Lavellan sees the way his shoulders slump (in resignation yes, but you can't convince me there's not a little bit of relief there, too), she hears the agony in the "vhenan" that escapes his lips (which, don't even get me started on the fact that it's been like nine years and he has no hesitation at all calling her his heart, it just spills out of him). It is not the sound of a man delighting in the steps he's about to take. They're certainly not steps he does not dislike that lead to a destination he enjoys.

And then she watches Mythal (who I can't imagine she feels any sort of fondness or respect for) pull some weird nonsense on her love one final time, and she knows it's her moment to shine.

Mythal, I would argue, pushes Solas down one more time, shames him into seeking atonement, into once again being alone.

It is the romanced Lavellan that kneels so that he cannot fail to meet her eyes. It is she who invokes their connection, not to remind him of his failures but to reaffirm his greatest strength: their love and their love alone is inevitable. Not the consequences of his past, not the regret he thinks will consume him as he seeks to mend what has been broken. It has only ever been them.

"There is no fate but the love we share". We are forever tied together.

"There is no fate but the love we share." *I* am releasing you from everything else save for this love.

Put colloquially: get absolutely fucking wrecked, Mythal.

Body language comparison to chase up the dialogue one, anyone? The way Solas shrinks before Mythal as opposed to him walking off into the fade with Lavellan at his side and standing tall, and he does not flinch when she lifts a hand to his shoulder?

Ultimately, Mythal is a part of the atonement endings no matter what. But it is only Lavellan that refuses to let him walk alone. It is only Lavellan that guarantees that his dinan'shiral ends not in a prison of regret, but a place of promise.

Mythal bends Solas until he breaks one last time. Lavellan takes each piece, claims it as hers, and uses them to build the beginnings of a future.

[kanyerealdaughter]

#EX BOYFRIEND

sexual content , masturbation (f,reader) , cussing , intercourse , creampie , *cum tasting a bit*

—————————————————

right now you’re currently driving to your ex boyfriend suguru house. you have no clue how to handle it to be completely honest, you never been too good with emotions but you both left on good terms and everything but you just can't stop the need you feel him one last time.

you pulled into his driveway preparing yourself to get all your stuff and leave as quickly as possible. you walked up to the front door and rang the doorbell. after a few minutes he appears in the doorway, looking' sexier than ever. you were snapped out of the battle with your subconscious by his voices speaking out in a concerned tone.

" uh- you good..?"

" mhm, uh y-yeah, fine i just came to get my stuff remember." you replied weakly.

" well you're gonna come in?" he asked in his raspy voice, steppin' out of the way, letting me into his house.

you look over at the kitchen and remember all the times he fucked your from behind. so deep in you, so... rough. and the living room where he'd prop your legs up on the coffee table and eat you out. suckin on your clit…

your breathing picked up and you don't know what to do. your underwear is getting wetter by the second and you can't do anything about it... or can you? once the idea pops into your head, there's no turning back. you have to do it. you need to do it.

" um suguru can i use your bathroom?" you ask , pretending that you have to use the bathroom badly.

“ oh uh- sure. you remember where it's at right?" you nodded and headed off to the bathroom.

once you’re outta sight, you rush in, shutting and locking the door behind you. you don’t waste any time taking your jeans and underwear off. mmm you’re so wet… you don't even bother taking your shirt and bra off, you wanna make this quick.

you slowly insert your middle finger and it slides in with ease from all the wetness. you start to pump and move your hand. in and out. in and out. in...out. over and over. fuck it. you need this. you pick up speed, lifting your left leg up onto the sink for better access.

" mmm." you moan softly before putting your free fingers into your mouth to shut yourself up.

you can't be loud but it feels so good. you bite your knuckle harder in an attempt to hush yourself but it's useless. you move your hand quicker. the lightning fast speed of your fingers is amazing. you started to think of suguru. his big dick thrusting into you with quick speed. both of your skin hitting together because of his fast, hard pace.

" fuck." you muffled into your knuckles. his balls slapping against your ass cheeks. both of your moans and grunts are drowning out the others. you’re whimpering. you want to scream but you can't. you want him to fuck you so bad. you imagine him talking dirty to you even more.

" fuck, you like that i know you like it.

“ scream for me ma.." that was all it took to drive you over the edge.

" fuck yes..!"

you came all over your hand, hard. as much as you wish it were him you were cummin' for, you guess this will have to do. you clean yourself off realizing you’ve probably been in here for too long. you washed all your wetness and juices away from your hands, dried them and then went to leave.

as you opened the door, you found a very satisfied ex boyfriend suguru getting off right in front of the door. either he didn't care if you saw or he hadn't heard you come out.

whatever the case may be, you didn't care. you suddenly felt hot again. you once more felt the urge to have him inside of you again. watching him get off because of your moans from the other side of the door really turned you on. you need to feel him in you, at least one more time.

as you watched him, you could feel your juices pooling up as they did before. bitting your lip, you reach out and touch his dick. he looks up at you and you could see his once big dark purple eyes. eyes darken.

he stops and in a blink of an eye, you're pinned up against the bathroom door. with a strong large hand over your neck, his lips dive towards yours, connecting in a passionate yet lustful kiss. it was harsh and forceful, making your knees go weak. if he wasn't holding you up you would have fallen.

your hand instinctively wrapped around his hard cock, pumping in an attempt to please him. a quiet moan could be heard escaping his lips, that were molded together with yours, sending a long satisfying shiver down your spine. i need him in you now.

" i need you." you said in between kisses.

" i'm glad you said that ma i need you too my dick hard.." he said as a smile crept up on his face.

and with that he pulled his pants up and picked you up, carrying you to his room. when we reached your destination, he threw you on his bed and began stripping.

starting with his shirt, then his pants, then his boxers. you both kept eye contact as you began to get undressed with him taking off your shirt along with your push up bra.

when you both were done, he crawled up between your legs pushing you up on the bed. he once again connected your lips as he moved one of his hands to your breast. he squeezed and rolled my hard nipple earning soft moans from you.

you started to whine, letting him know that you can't wait any longer. a smirk draws across his face while he moves his hand down to my heat, collecting some of your juices on his finger, he stops kissing you and puts it in his mouth. he moaned lightly at the taste of you causing your hips to buck up at the sight.

he looked down and grabbed his dick and started rubbing it against your slit. pushing it a little to your clit, your legs shook. you’re so wet that he accidentally slid in hard, slamming into you, causing him to groan at the pleasure.

" you're still so tight fuck ma." he said in a low whisper. you moaned in response his pace started off slow but then soon quickened as his heavy breaths you felt in the crook of your neck. his thrusting grew harder. the bed creaked and rocked with his and yours movements.

" u-uh yess!." you moaned. it feels so good his grunts fill the room along with your moans.

" fuck ma you been givin my pussy..?" he whispered groaning at the end of his sentence.

you shake your no.

" words mama." he groaned.

" no o-ohh fuck." you gained the confidence too say no. he smack ass leaving a handprint thrusting into you kissing your cervix fasting into you even more making you moan.

" tell me, who does this pussy belong to?" he said while lifting my legs up by his shoulders, fucking me deeper.

(yesss kinggg lmfaooo ignore this.)

“ y-you." you barely got out in between your panting and loud moans.

" louder." he demanded.

" y-you suguru you suguru FUCKK.! u-uhh so deep..!" you ended up screaming, causing him to smirk.

" mhm." was all he said.

" fuck. f-faster." you said wanting more. his pace quickened from what it was before as all you could hear was his and yours skin slapping together.

" n-nugh!" you screamed. he was so deep and big he filled you up kissing your cervix once again

" s-shit..!" your back arched as your felt your orgasm forming.

" i-im gonna c-cum!" he stopped causing you to whimper.

" no.. fuck why suguru..?" you whined. he didn't answer but instead flipped you over to where your ass was up in the air and your back was arched. face in the comforter.

suddenly there was a sting on your ass cheek. smack. the skin on skin contact of his hand colliding with your plump ass made you moan.

" you like that." he said with a smile forming on his face.

smack another hard slap echoing throughout the room, the sound bouncing off the walls. you moaned again, this time a little louder. without warning he slammed his dick back into your soaking wet pussy making you scream at the sudden pressure.

his thrusting was quick and hard just like before. your pussy throbbed. your ass slapped against his front, reddening your cheeks smack.

" ooh fuck!"

it feels too good smack. he continued his thrusting that soon became irregular and uneven, getting even more sloppy. he was close and so was you.

" cum for me ma. cum all over my dick mamas ." you couldn't hold on anymore. your orgasm ripped through you like a tidal wave, but he didn't stop.

" ahh! f-fuck! fuck suguruuu!" his dick twitched inside you.

" mmm." he hummed.

“ scream my name again.” he said, his breath being just as scattered as his thrusts.

" suguru!" you screamed moaning right after.

" f-fuck ma..!" he stopped deep in you, filling you up with his hot spurts of cum. you shook and screamed into the comforter. you both stayed in that position catching your breaths for a few minutes and then he pulled out.

he cleaned up and then you both laid in his bed talking for about an hour until you finally decided to get dressed and head home. he stopped you right outside his front door by grabbing' your waist and pulling you into a kiss slapping your sensitive ass making you yelled out a yelp. he broke it off and tilted your head up to look at him looking him in his dark purple eyes.

" come back anytime you'd like and we can do this again ma." he winked at you but being all serious and then disappeared back into his house.

the drive home was silent. you didn't listen to any music, you just sat there thinking...

𖣂 KANYEREALDAUGHTER SPEAKS - old wattpad story.. since i couldn’t think of nothing.

words - 1.8k

» , ᴀ ᴋᴀɴʏᴇʀᴇᴀʟᴅᴀᴜɢʜᴛᴇʀ

copyright ©️. ᴘʀᴏᴅᴜᴄᴛɪᴏɴ . «

[balioc]

Looking at the world from a manager's perspective, you can productively model the pool of workers as being divided into a few basic groups, which are defined and characterized by their driving motivations.

Insert all the usual disclaimers for this sort of thing - this is the roughest type of rough typology. I pulled these categories out of my raw intuition, and possibly a few more would crop up with some additional thought. In reality, the boundaries of these categories are incredibly fuzzy, and almost every individual is actually going to be motivated by a complicated mix of all the relevant motivations; we're talking REALLY SIMPLE HEURISTICS here. Etc.

There have been other well-known worker typologies that share a lot in common with my thoughts here; this is mostly not novel, it's mostly meant to refine a few ideas for particular purposes.

Hustlers are motivated by concrete personal advantage. Most commonly, and most straightforwardly, they want money - as much of it as they can get. They may also be interested in fame, idiosyncratic perks, etc. They do whatever they have to do in order to get what they want.

No surprise: you see huge preponderances of these guys in fields that provide outsize concrete rewards, e.g. finance, the upper echelons of management, etc. But not every natural-born Hustler is in a position to enter a glitzy high-paying field, and in fact you find Hustlers all throughout society and all throughout the economy, finding or making hustles wherever they go.

Having Hustlers working for you is mostly pretty great. They get shit done. They can be induced to work incredibly hard - probably harder than anyone else, under most circumstances - and they'll shank their own mothers if the price is right. If you need anything really important from them, anything at all, it's just a matter of bribing them enough.

...they will also, of course, cheerfully shank you if the price is right. Hustlers aren't the only wellsprings of institutional politics and infighting, but they're the most dangerous ones; they're always potential rivals to everyone around them. Also, you need to keep the tangible rewards flowing in a steady stream in order to get anything out of them, or else they'll put most of their effort into jumping ship (one way or another).

Craftsmen are motivated by the desire to do good work in their chosen fields, for its own sake and for the sake of their treasured self-image as people who do good work.

As you'd expect, for the most part, they're excellent workers and should be prized. But they're not perfect workers. Common weaknesses and downsides include:

They tend to have their own ideas about How Things Should Get Done; they're often resistant to externally-imposed product/service requirements or process changes (and bad at implementing those things) (no matter how important or well-conceived they are), and they're very resistant to "just get it out the door, right now done is better than good."

Being driven chiefly by internal motivation is great, but sometimes it's useful to be able to push things along with external motivators, and Craftsmen are pretty resistant to those. They don't like working more or harder than they're naturally inclined to work, they mostly sneer at carrots, and sticks make them sad and unproductive.

It's important to note that, while noteworthy skill within a field correlates with having a Craftsman temperament and motivation suite - for obvious reasons - those things are not identical at all. Plenty of Craftsmen are bad at their jobs, or just average, and plenty of the best workers are most motivated by things other than the Excellence of the Work Itself.

Fanatics are a relatively rare and specialized group, whom you find mostly within a few specific sorts of culturally-valorized fields. They're motivated by a desire to be part of something Important and Good in a Broader Sense: to Save the World, or some smaller-bore version of that.

They make amazing front-line soldiers, in the sorts of institutions that have "front-line soldiers." They work super hard, and you don't even need to bribe them, you just need to keep them hopped up on inspiration.

The big problem with them is that they're mostly motivated by a feeling - the feeling of Being Righteous - and it's not easy to control where they get that feeling, in any kind of precise way. They're just as resistant to external motivators as Craftsmen are, or even more so, but they're also not being guided by an ideal of effective quality. (No, not even if their chosen cause is theoretically all about an ideal of effective quality, hem hem.) They will happily waste vast amounts of time and money doing useless things, or even counterproductive things, so long as they're engaged in tasks that hit the right psychological buttons for them. There's also a constant risk that a Fanatic will decide that his employer is unrighteous, or that one of his coworkers is unrighteous, and start an internal conflict; the risk scales in a more-than-linear fashion with the number of Fanatics you keep around.

The biggest group, unsurprisingly, is the Normies. In most fields, it is much the biggest group. Normies are motivated by the desire to be members in good standing of their communities, to have positive relationships with the people around them, and to live up to basic norms and expectations.

Managerial skills, in the traditional sense, are incredibly important with Normies. If you want them to do good work for you - and you should want that, as a manager, you've almost certainly got a whole bunch of them - not only do you have to keep them pointed in the right direction, you have to make sure that they're supporting each other. With Hustlers, you just have to throw money at them (and avoid their power plays); with Craftsmen, you just have to let them do their thing, and occasionally badger them into giving you what you need; with Fanatics, you just have to be inspirational; but with Normies, you have to lead, and construct a productive community. You have to set reasonable, achievable norms and expectations that will get you what you need.

This wouldn't be complete if I didn't talk about the Defectors. The Defectors are motivated by not working. They don't want to be there, they resent having to do their jobs, and their primary goal is to shirk as much as possible. They will, by default, put much more effort into shirking than into their assigned tasks.

Obviously, managers don't want to have to deal with them, for good reason. But they're out there, in large numbers - not always in the places and fields where you'd expect to find them - and learning to manage them is sometimes more viable than trying to get rid of them. ("Moving Heaven and Earth to find them jobs that will change their attitude" is often a good plan, although of course it's not always possible and not always worth it.)

Crucially, Defectors are not Normies. If you start with the assumption that the average baseline worker is lazy and sour, you will make some incredibly stupid decisions. There are some fields where, for structural reasons, you can expect that a very large number of your workers will be Defectors; this is a huge and complicated challenge, well beyond the scope of this post, and good luck to you if you have to handle it, but it's not the default.

----------------------

Once you have those categories in your head, and can play with them, a number of obvious-seeming ideas present themselves. Just a couple, for now:

Most high-level executives are Hustlers, or have strong Hustler tendencies, for obvious reasons. Most of the people around them are Hustlers, or have strong Hustler tendencies. This means that they tend to overweight the Hustler outlook, by a lot, when they try to model what their workers are like. More specifically, I'd wager that a lot of them intuitively divide the world into "good workers" ( = Hustlers) and "bad workers" ( = Defectors). This will lead to a heavy overreliance on tangible rewards, a systematic shortchanging of community-building, etc. Which is in fact just what we see.

In particular - crucially - Hustlers and Defectors are the only worker types who ever become more productive under heavy stress. Hustlers actually benefit from it, because it raises the stakes of the game that they're already playing. (If you succeed, you'll be king of the world! If you fail, you'll be shark food! Go go go!) Defectors suffer terribly from stress, of course, but they can sometimes be spooked into doing their jobs as opposed to doing nothing, and sometimes that's the best/easiest way to get something out of them. But stress is terrible for everyone else. Craftsmen lose their focus. Fanatics lose their hope. It's worst of all for Normies, because they take all their cues from the vibes around them; they're productive when they learn to associate work with comfort and happiness, and when you fill their working world with frantic desperation, you just put them in a permanent cringe state.

stop trying to pit your Normies against each other in competitions for status and rewards dear God what are you stupid

To some extent, you can control your institution by controlling what types of workers you have. But only to some extent. There are only so many Hustlers and Craftsmen to go around, and if you want them, you will have to (a) be able to identify them reliably on little information [HINT: you are probably very bad at this], and (b) provide them with what they want [tangible rewards / comfortable security and interesting work]. "We are going to employ only the good special people" is feasible if you're an outfit of four workers; at a dozen, it's already become a stretch; at a few hundred, uh, pfffffffft. If you want to operate at scale, you need to be able to make Normies do good work, there is no substitute for it.

[honest-moth-of-silver-grove]

That is so nice of you honestly, i think the the ask was how a yan alucard would take advantage of his position of power in the village post season 4, and if he and the people(the villages people, the orphans, sypha and Trevor) around him would pressure his fem love interest/obsession into being with him because of all he has done for them making it very difficult to reject his advances with out becoming a social outcast .Like I can imagine a darker version of him proposing to his Darling in a public space surrounded by the aforementioned people and villagers for that very reason. And side note do you think he would turn his Darling so they could be together for ever?

A/N: Yes, oh my gosh, yes! A Yandere! Alucard would 100% use his position of power over her to gently “guide” her into falling for him. And I do think, that yes, a Yandere! Alucard would eventually try to turn his Darling. I like to think that it might take some extra dark magic, as he is not a full vampire, but that he goes down that path willingly for her (regardless of how she feels about it) because once he falls, he falls hard, and he cannot imagine living without her.

TW: Toxic/Manualpative Relationship, and Brief Mentions of Sex and Pregnancy 

Yandere! Village Leader Alucard Headcanons: 

A Yandere! Village Leader Alucard who always insists on “helping” his Darling, and whatever group she happens to be in. ‘Ah, you’re on kitchen duty today. Well it's a good thing that my Mother taught me to cook.’ & ‘Barn raising? Surely your tiny frame is no match for such a strenuous job. Here, allow me.’ 

You don’t like feeling helpless, but you couldn’t say ‘no’. That would be such a rude thing to deny the very Savior of your people. 

A Yandere! Village Leader Alucard, who is always so kind, and attentive. One who chooses to spend most of the free time he has at gatherings putting the spotlight on his Darling so that he may listen to her speak. ‘Hmm, what an interesting Speaker tradition, Sypha. Tell me, (Y/N), what sort of traditions remind you of home?’ 

You’re running out of things to share with him, it seems everything you could say about yourself he seems to already know.

A Yandere! Village Leader Alucard who memorizes every little detail his Darling shares, and uses it to his advantage, all the while pretending such occurrences are mere coincidence. ‘I found these flowers blooming on the other side of the castle and I thought of you. Truly? How lucky, I had no idea these were your favorite flowers.’ & ‘Hmm, now that you mention it, I believe Mother had an old dress in that color. Why don’t you wait here while I go and fetch it for you?’ 

The dress fits perfectly, huh. How odd that you and Alucard’s mother must have been the same size. 

A Yandere! Village Leader Alucard who “lets it slip” in conversation with Trevor and Sypha just how madly in love he is with his Darling, prompting his married friends to conspire together, coming up with ways to make you see Alucard’s love. ‘I can only hope she shares the same affection, although I must admit, I am unsure of how to tell her of my feelings.’ ‘& ‘Do you mean to say you’ll help me win her devotion?’ 

Did Sypha always talk up Alucard like that? Trevor sure keeps talking an awful lot about being married, even for a newlywed. 

A Yandere! Village Leader Alucard who always speaks your praises to the children, about how smart, loving, and fun you are so that when they call on him to play games, they’re always scheming to get you to play as well. ‘I must admit I’ve pondered over whether I have the ability to have my own.’ & ‘Don’t believe I haven’t seen the way you light up when the children call you Mother.’ 

Wait? Don’t they also call Alucard, Father?

A Yandere! Village Leader Alucard who insists on caring for you by himself, anytime you become the least bit injured or ill. He insists you stay within the walls of the castle for the time being, as opposed to in your cottage with your family outside. ‘I know the castle can feel overwhelming at times, but please, try to think of it as a mere extension of your home.’ & ‘I do wish you’d let me take better care of you, Darling. You’re too important of a person around here to be laid out sick so often.’ 

You didn't used to fall ill so often. What the hell is happening to you?!

A Yandere! Village Leader Alucard who makes a very public display of asking for your hand, one evening during a solstice festival. All eyes are on you as you smile, and you a faint chorus of applause as you accept the dhampir’s proposal. ‘It would be my utmost honor to marry you, my Darling.’ & ‘You are making me the happiest man alive.’ 

Not as if you could say no with all the other villagers and your family watching. They want this for you too, so, this marriage must be a good idea, right?

A Yandere! Village Leader Alucard who arranges for you to be wed as soon as possible. One of the castle’s largest halls is transformed into a makeshift chapel as Sypha performs the wedding rites. Greta acts as your Maiden of Honor, while Alucard slots Trevor in as his Best Man. All of the villagers- your family included- are there to watch the ceremony, with laughter and joyful tears in their eyes. ‘I know it’s not a church wedding, Darling. But you understand, I doubt we’d find a Priest anywhere willing to marry the son of Dracula.’ 

You look like royalty in the dress Alucard provided you, so you try to ignore how the cuffs of your dress’s bishop sleeves feel like weighted shackles upon your wrists. 

A Yandere! Village Leader Alucard who promises you can’t get pregnant the first time you have sex. He’d know of course, silly! His Mother was a Doctor after all. Just let him love you… No, let him worship you, mind, body, and soul. ‘Besides, I’m quite certain dhampirs are sterile. It would take a miracle for us to make a child together.’ & ‘Even if it were to happen, it’s not the end of the world, is it? We are wedded after all.’  

If that’s not a goal, why does he insist on always flipping you over so that he can watch your expression as he finishes inside you? 

A Yandere! Village Leader Alucard who swears you will make incredible parents, and he could not be happier to have a large family with you. You have so much knowledge and wisdom to impart, creating this legacy with him is a great act of service for the world. And Alucard promises, as soon as you’re done having his children, maybe two or three, he’ll change you into a vampire so that you can enjoy the fruits of your labor at his side- forever. ‘Just imagine it, Darling. Neither one of us will be lonely ever again.’ & ‘We’ll be each other’s soulmate for all eternity.’ 

Surely, eternity isn’t all that long. 

Right?

A/N: I hope you liked it! I was trying a different style/format here, so I apologize if it isn't what you expected. My mom’s having surgery this week, so I didn’t get as much writing/editing time as expected. 

Please Like, Leave and Comment, and REBLOG if you enjoyed it!

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[sunliights]

"oh, no. i'll definitely have something in there, it's just a case of finding it." maybe summer ought to stop talking about it as something that was going to happen, after all she may very well change her mind. or there may be factors that arise which make her think it wasn't a good idea. she wouldn't put it past her boyfriend to throw her off the plans she was making. she really had to talk to them but that was the last thing she wanted to think about right now. "i'll see what i can whip up," she shrugged, still idly grazing over the fruit. it wasn't even so much about hunger anymore than it was her wanting to thoroughly appreciate ashton's efforts. "this really has been a great day  — it's probably going to get old hearing me say it but i can't believe some of the sights we saw... and this is also the perfect way to relax afterwards. it's tricky swimming about with all that equipment, you make it look so easy."

"clearly not." ashton couldn't remember the last time they had felt this light, this carefree around someone. the day had by far been one of the best they'd had in a long time. they'd missed the feeling of sharing their time with someone that was important to them, to have fun and things be simple. as summer turned towards them, they couldn't help but give her a hopeful smile. when she didn't completely shoot down the idea, it did give ashton hope that maybe there was a chance she would come along. the thought alone made their stomach flip and their smile grew. "i can do that." but ashton couldn't let themself get their hopes up, knowing she could just as easily blow off the idea when she had a little more time to think. "something tells me you'll have something in there. my suit is black, by the way, it'll go with any colour you choose."

[mysteryanimator]

Breaking down Castlevania Nocturne Season 01 - Episode 04 "Bedroom scene" (almost) shot by shot!

Breaking down episode 06 / Breaking down episode 08

(Word count 6.3k I am so sorry HAHAHA)

I was heavily considering not going through episode 04 mostly due to being in the public eye but I like talking about shows I enjoy, regardless if my writing is shitty or not. By the way, the title says almost go through this shot by shot only because there's a 30-image limit. This scene is LONG so I can't catch everything but I can catch most.

By the way, before we start, a massive huge thank you to the Nocturne people, i don't think they'd read this, but if they do, all the scenes are really well crafted and interweave soooo nicely to their next point of interaction. I would love to know everyone who worked on this section, but if not I do hope they hear my utmost thanks and applause from all the way from Australia.

(Actually, just everyone who worked on Nocturne take a standing ovation from me lol, the show actually changed my life lmao, but I digress)

To introduce people who may be reading my analyses for the first time:

I implore you to rewatch Nocturne after reading this and make your own thoughts because while this is an analysis, it also comes through my own lens. These are just my thoughts and by no means end-all-be-all!

These are just observations based on my special interest and study in the field of in media production and analysis (i haven't been in that field for a while but I'm trying to get back into the swing of things HAHAHA)! Despite all of that, this is for fun, which is why I will be writing a lot more casually, so please don't take this too seriously! This not only helps me out as a student to become aware of how stories are put together and, in turn, how to apply them and make my own, but it also allows me to impart that excitement to you! Shot choices matter, especially when you have only 8 episodes, a deadline, a budget, asset restrictions, and so on. It all has to count. Everything matters.

Passionate creatives care and there is more than "the curtain is blue just because." The times when things slip under the radar and are put there just because are mostly due to executive meddling, budget restrictions, and deadlines.

With that said, this is actually a lot more thicker than previous breakdowns, WHOOPS. So please feel free to read this in chunks, and I will warn you that my grammar is not the best so you might have to bear with me here! As a warning, I will be using the words like sex, genitalia, etc. I only mention the actual acts of sex when presented as a joke.

--

Why am I putting in this last close shot of Tera? It is important because the whole scene beforehand has us mentally prepared for a fight or something a lot more action-like. The walls behind Tera and Olrox's room are REALLY similar, therefore once we see this inn room, we make a split-second assumption we're jumping forward in time with the protagonist. A picture says a thousand words.

Right up until the Olrox and Mizrak scene, our protagonist and antagonists both have very distinct places of associations and visuals, which often give the audience clues about their roles. They're established immediately from episode 01 and don't divert that line, that is until inn room. You can argue the line waivers in the courtyard, but the distinction is made REALLY clear in this episode.

The main cast, aka our protagonists, their places of association are usually amongst nature and people. If they're inside buildings, it is small cramped space, very much lived in and not completely upkept BUT it is what makes them very human. Our antagonists are associated with grand buildings and detailed windows that almost touch the ceiling. Gold trimmings. Vibrant rich colours that could only be afforded by the rich. If not the massive chateau, we have larger-than-life catholic churches, with stone walls higher than the eye can see. Our antagonists are congregations and establishments. Our protagonists are individuals.

I'd love to put some examples but I've used up my image slots, which means I'm making you rewatch (jokingly you don't have to) Nocturne from ep1-ep4 making you really conscious of the backgrounds

We as an audience have already slotted Olrox with with high-class, even though we as an audience know there's more to him. Olrox is designed with visual cues of the antagonists. His clothes literally could be wallpaper for the chateau. Not only that, the way he stands and holds himself very much leans into some of the stereotypes and tropes of the upper class that are often shoved into the media we consume. Then Mizrak, we do not see Mizrak anywhere besides the church, just strictly following the commands of the Abbott. We as an audience already have preconceived notions about religion, especially catholicism in the real world. Also, we have an established view of how Castlevania goes about religious characters from the previous series. Mizrak appears to have no other purpose but to be one of the main antagonist's guards.

This is a subversion.

Subtly this is going to tell us there is so much more with Mizrak and Olrox, and how their values align more with the protagonists rather than the villains and antagonists of the show. However, since they already began as oppositions to Richter and co, they need to earn the trust of the audience first so then they become more likable whenever they do have to earn the trust of Richter and co. This is our first building block. A step towards trust towards us and a step towards trust between Mizrak and Olrox.

(The location of their private conversations is REALLY important because they also tell us a lot about the characters, but I'll save it for the ep 3 breakdown when I get to it)

The sequencing and length of these shots are really important for the first half of the bedroom scene because we have exposition to get through. The scene has to be set out very strong from the start BUT, it also has to ease us in because this is a drastic shift, not only visually with naked characters but also a shift on the audience's expectation of already established characters. This is why we need this window first. We need to ease into this bedroom scene, or else we're going to be way too distracted by what is about to be shown.

Going forward SOME of these will be gifs to help illustrate my point. After all this is an animation! This is really important to show you in motion.

This pan down, oh my god this pan down. Camera pans help to reveal new information off-camera or to showcase a shift in tone/perspective. Suffice it to say THAT IS A LOT OF INFORMATION and a new shift in tone. This long shot is here to help establish our setting more clearly, what characters we're following, and what is happening. What are we establishing here? Mizrak and Olrox had sex in an inn room, that's all this shot is. It doesn't have to be anything fancy, other than the fact Olrox is censoring his own and Mizrak's crotch but that's it. As simple as it is, it is extremely effective. Yet it's so pulled back and obscured by the flower we can't be completely certain which is why we need the midshot of them that follows after, which helps to continually ease us into the scene. It tells us so much with so little. Show, don't tell is not only a powerful tool in visual arts. It leaves the audience to their imagination and I'm pretty sure a lot of us can fill in the gaps (I see you writers, I've seen everything on AO3).

This a midshot of Mizrak blankly staring up at the ceiling. Then they both turn to each other before Mizrak leaves and Olrox watches. In silence.

It's simple.

It's straightforward.

It makes you throw your arms up and go "what the fuck is happening???" It works. We're easing into this scene which is what we need. We're distracted by our own shock. So we've gone from our establishing the bed to establishing in our faces that, yes, it is indeed Olrox and Mizrak and they are both naked. That yes, they had sex and that Mizrak decided to stay for the night. Reasons? No clue and it's not important plot-wise, we just need to wrap our heads around that it is THESE TWO. It needs to be simple.

The lack of dialogue gives us room to breathe and to think. This is why this shot feels and holds on for what feels like a long time, in silence.

It might've changed but last I recall on average, shots will hold for 2-3 seconds. This is due to preventing the audience loose interest because the unchanging visual stimuli (and let's be frank attention spans are shortening, therefore media will change to reflect that). HOWEVER, a shot length heavily depends on the context of the scene and what you're trying to specifically say with a single shot, therefore making it super short OR super long. This one shot is six seconds. It allows for the dramatics to be amped up and it allows us to get through our shock for a bit longer since we're only TWO SHOTS into this scene, and right after this we're jumping straight into exposition and their deeply intricate dynamic. This is out six seconds to scream our heads off in shock and laugh in disbelief before we get hit with Mizrak's existential crisis.

The silence and the simplicity of it all also strengthen their mysterious characterization that has been established in episodes 01-03. We never see how they got here OR the act itself. However, what is really telling of these characters is their lack of body language and facial expressions. From episodes 01-03, Mizrak and Olrox have been seen to be very reserved characters until their fight in the courtyard. Their last scene together was fighting, in a courtyard. Now we're seeing them, post-sex, with neutral expressions and body language? The lack of any answers, the lack of anything dynamic happening from this shot and the last shot makes the audience absolutely learn for an answer. We're now invested in this side plot. What got these two men to be in this vulnerable state? How do we get the answer? We sit, we wait, we watch that vulnerability get earned. Mutual vulnerability that is.

This gets into personal opinion here so feel free to skip, but I really really enjoy how we get absolutely no answer or visuals, which might be a strange take for someone who does of fan-anims and fanart of them coughcough. We as an audience can get through literally two images and understand they had sex. We don't need to be spoon-fed. Media is in my personal opinion is more fun to engage in where we get just enough to know what going on, but we can fill in the blanks ourselves. We can read between the lines. This is adult animation. This is not to say I'm opposed to an explicit scene with them later down the line, I just think this is a very good way to establish the dynamic they are going to have. It has me way more emotionally invested in these characters which I believe is far more important because it tells me we're in it for the long haul and we're going to see a relationship actually develop in real time, both their high points and pitfalls. Also, I personally feel this whole scene is building towards something we have yet to see. I do not believe this is the last time we will see them put in a situation like this due to the whole emotional weight of them being naked, but that's theory territory LOL. I'm so happy to be proven wrong though.

This long shot is slightly tilted up to help to censor genitalia but it is again a REALLY SHOCKING SHOT. I personally don't know any recent Western animated media that has done this, especially of a male couple. Even if there are some animated examples, this is not a very common thing, especially to this extreme.

Now we're actually getting into the meat of their actual discussions, knowledge, if you will.

By the way, the question Olrox is presenting, is already information everyone knows. Actually, a better word is presumed. We saw the abbot in episode 02. Olrox explicitly states it in episode 03, asking "Why is your abbot forging Night Creatures for the Vampire Messiah?" There's technically no reason to say this BUT for this scene, it works because we're still distracted visually. We still need to ease into this, much like how Olrox needs to ease himself into this conversation before getting what he wants truly. Mizrak's opinion.

This midshot of Mizrak's back is so much important then you think.

I can be wrong, but I feel like you're supposed to be half-distracted or get whiplash by Mizrak's back. Frankly, we're supposed to get major whiplash from these two characters naked for a moment. These characters are usually completely covered from the neck down. This also makes the conversation they're having to be put under a way different lens. If they were clothed for this entire scene, the emotional weight would almost be non-existent.

Nakedness/lack of clothes is vulnerability, especially for a knight. Especially for a guarded vampire. I will be talking A LOT about vulnerability, so I hope I don't wear out the word too much.

You can perceive this shot in two ways and I think both work in this scenario. It can showcase even when naked and vulnerable, his unwillingness to open up, unable to fully face his own truths, the truths Olrox lays out for him. Yet, you're also having your back to a vampire, a perceived threat, which is a very vulnerable position to be in. You can't see your opponent.

It shows Mizrak trusts Olrox physically, but not emotionally. Not yet. We're going to watch Olrox earn it and for Mizrak to reciprocate it back throughout the series. Also just in general, sex requires vulnerability, choice AND trust, therefore even the implication of sex, those meanings get slapped down onto these characters. It means that they have the means to trust, be vulnerable, and have a choice with each other physically, but emotionally, they're building up to that.

This medium shot will be the ONLY SHOT we get of Mizrak in his boxers. This is plainly in part of the fact he's hurriedly getting dressed BUT we need to see his hesitation, him slightly lowering his clothes, him actually listening to Olrox.

Olrox is right.

Though Olrox isn't here to converse about other people to Mizrak. He wants his opinion.

Close-up shot of Olrox!

Close-ups are used to make the facial expression of a character the main focus. It gives us clarity on the character's thoughts and feelings on a particular subject, even when lying it can already tell us a lot about a character in the moment. The character themselves are the sole focus of the shot, nothing else. The same goes for objects. This also means when you do the opposite and obscure the face...

(drum roll to the next shot)

This is a great close-up shot to cut to because this has Mizrak fully turn AWAY from Olrox, put on his armor, and paired with the line "I don't know what you're talking about." We're getting visual and audio confirmation that Mizrak does not want to acknowledge his own thoughts, in turn, he will not face Olrox and the audience.

He is actively putting his guard back up as soon as Olrox prods for his opinions. From episodes 01-04, all we have seen him do is be at the church and stand alongside Emmanuel, that's it. He is not a leader, a pillar of the community like the Abbot, he is a follower. A guard dog ( like Drolta Tzentes, though she has way more personal agency than Mizrak). He never voices his own opinion, his own thoughts. To do that would need you have the strength to be

VULNERABLE!

By this point in time, he's not fleshed to the same degree as most of the other characters. Richter gets the episode 01 prologue with Olrox being his main point of trauma. Tera gets her speaker backstory fleshed out along with establishing Drolta and Ezerbet's longstanding history. Annette and Edouard get a really well-established (btw beautifully done too oh my god) flashback as Annette recounts the past. While Maria has no flashbacks, her character gets to have her individual values and attitudes fleshed out due to her screen time and her connections to Richter and Tera.

Mizrak though?

Not much is known about him besides the church. We put this label on him simply due to what the show has given us, but through Olrox we're getting information out of him because clearly Olrox has seen there's more than meets the eye. Especially when Mizrak drops the line "when the world abandons you." Olrox's investment is also now our investment in discovering who Mizrak is.

Mizrak however, does not want to get personal feelings in the way of duty, a common trope in media for knights, soldiers, and religious people. So he shuts him out.

Multiple.

Times.

This shot pans up, moving Olrox from lying down, which is more casual to more structured sitting pose. Specific movement is IMPORTANT to capture, so instead of just cutting to another shot, you move the camera with it. There's a tone shift. We need to see him go from lounging to making a very direct statement. Mizrak is ignoring his question so Olrox has to be more blunt with his statement because he needs him to listen- so the camera and the his body language have to clearly state "I'm not joking or fucking around anymore, just listen."

What he says is absolute truth though, this is exactly what happens in episode 08. "They're revolutionaries, Father. We're here to crush them."

The stark difference here is crazy in this medium shot.

Mizrak. His head is purposely cut off, he's practically clothed, with his chain mail on. He's standing up and his posing is quite stiff with his hands almost balled into fists. You also might be thinking, why is his chest and boxers the only things we see???? It makes him appear so much more clothed up and, therefore a lot more guarded. Cutting off the face means we don't get to see his emotions, he's trying to ignore personal feelings on whether it's right or not.

Olrox on the other hand, is full body, we see his face, naked, and despite his very direct statement in the last shot, he still somewhat casually sitting. Olrox is STILL trying to get Mizrak to be vulnerable and trying to get HIS opinion.

Funnily enough, I've talked about this close up shot before in BOTH episode 06 and episode 08's breakdowns. However, I've never actually discussed this initial way Olrox approaches him.

Olrox again, prods at Mizrak and this time Mizrak does have to sit with that thought. "Do you think he's right?" "Are you sure this path is right?" He's asking if what Mizrak is doing is good. If the horrors committed are justifiable. Both the way their expressions tell us that Mizrak does not think it is, and Olrox KNOWS. This close-up is INTIMATE. We're getting deep into personal matters (well try)

Side profiles not only give an air of drama to a scene, but it usually means there's more to the bigger picture since we're not seeing a person's full face. We're deliberately only seeing one side of the picture.

This is a split-second shot and I've discussed it briefly in another breakdown, but now I can get to discuss it more in-depth now as it's own shot!

This is a top-down shot, putting these characters in a place of vulnerability and weakness. Olrox is put even lower than Mizrak in this shot, he's far smaller and takes up less space in this shot, therefore giving him less presence and less power. Episode 03 had established Olrox was the man (or should I say vampire) in control of the situation, hell, the shot just before this one had Olrox wrapping around Mizrak, again trying to get under his skin. Yet now he's suddenly placed the lowest in the power dynamic.

Not only this, the camera is packed in so tightly and close, it's practically suffocating. We have no visual room to breathe, almost like we're suffocated with the evil that prevails in the world and suffocated with the weight of the question "Are you sure this path is right?". Olrox's eyes are the only aspect we see of his face and Mizrak's eyes are the main focus of this shot.

And they both look horrifically sad. An emotion we have not seen either of these characters make.

This shot does not last long but it shifts the rest of the section completely, even when the moment of concern is gone. It lingers with us when dismissed because it does not match any other scene we've had thus far or what we have known of the characters.

This one specific close-up is very important because it comes back to us in episode 08 and episode 06.

It's the holding from behind and the very concerned look from behind. Mizrak only ends up mirroring ONE of the behaviors. It's the concerned look from behind in episode 06 (timestamp is 19:25). They're put at the same heights, both talking about the evils of the world. Tin foil hat here, Mizrak may end up doing the other behavior, holding from behind, in another season.

The weight of this shot is so heavy that it is treated so differently amongst all of the other shots in this entire interaction. It also holds on for much longer. It holds for 5 seconds. This is important. There are little character moments from Olrox, like how Olrox looks up at him and he holds onto Mizrak as long as he can before has has to let go and watch him walk away. Duty, before desire.

A moment that Olrox has to go through once again for episode 08.

In response to a line. "So we use our heads." Olrox jokingly goes "Or lose them."

This long shot is not only tilted up but it's on the slightest of angles as if to showcase how we're shifting the mood and tone of the scene. We are losing the gentleness and sincerity of the moment, back to the very conveniently placed knee to censor Olrox. We have Mizrak pulling up his pants. Whatever vulnerability they had, it's gone.

I don't think either of them wants to sit in the thought of their existential crisis because not only Mizrak is clearly going through one but Olrox is too. While I'm sure they were sitting with their own thoughts for a long while before meeting each other, it's only forced to be on the forefront and confronted after meeting each other.

So the "lose our heads" line ends up coming back around to where someone actually ends up losing their head in the same episode.

While first, it is very comical because I've seen so many people make the joke of "Olrox gave Mizrak head" (which doesn't help because Olrox smirks at him after passing him the head), it also solidifies Olrox's truths to Mizrak. People will lose their heads under Ezerbet, and there is evidence not even hours after their discussion. Despite the humor, Olrox is deeply concerned.

Olrox is always right. Whenever he makes a statement, he has always been right and has always been proven right. The only thing he hasn't been right about is episode 08 when he says "If you go back, she'll kill you." However, in terms of technicality, Mizrak hasn't gone back to Ezerbet/Sekmet. This will be addressed in season 02 most likely and even then I think Olrox will be proven wrong. Maybe? We shall see LOL.

Which while we're at it:

He eyes Mizrak the ENTIRE time during this very small interaction, and while he eyes him, we get a close-up of the book somewhat revealed before hiding it under his coat- silently communicating to him. This will eventually lead to episode 06. All interactions lead to effecting the next time they meet. I just really like this detail, though that might be a corn plate moment I'm not sure HAHAHA

Ok lets jump back to the bed scene!

So this follows up the "So we use our heads." "Or lose them."

This is said insincerely, so Mizrak jabs back at him with the same insincereity and less seriousness of this scene. Coupled with the fact we have a panning shot of Mizrak pulling his pants up, aka, pulling up his guard. Important note again- his back is STILL FACING HIM. Even with the chainmail fully covering him.

Also, I just really enjoy the animation here, like the way his arm goes from in front of him and straight, and then goes to being pulled back and bent, but that's a side tangent.

Low-angle tilted down shot. It ends up placing Olrox in a lower position of power than Mizrak in this current interaction, coupled with the fact that Mizrak towers over Olrox when he's standing up.

Despite us not seeing much of Mizrak besides his chest- he's fully clothed with his tunic FACING Olrox. While Olrox is STILL naked. Mizrak is shielding himself behind the cross. His faith. Olrox still is trying to delve into Mizrak's vulnerabilities and Mizrak won't give in.

Props to everyone who worked on this shot he just looked really pretty here.

This shot is tilted up and a close-up, an opposite shot to the previous one. It feels daunting, coupled with that line especially. Unlike a tilted-down shots, which make a character appear more vulnerable and weak, a tilted-up shot can make a character feel more in control of the scene. It makes him appear unwavering and solid in his stance Also, this is so specific but we haven't had any solely focused Mizrak shots for a hot moment now. The last time we had it was when he had his back turned to Olrox- now he has all his clothes on and is fully turned towards Olrox. Say it with me !! Mizrak's guard is up !! He's shielding his vulnerability !!

He feels way more emotionally safer to face him guarded up and a lot of his language has very very subtly shifted from when he had clothes on versus off.

Also thank you to everyone who worked on this shot, Olrox is very pretty here too.

Instead of having a tilted-down shot to do a verse version of Mizrak, it's pretty much straight forward close-up shot, which means the equal power dynamic in this conversation has returned. Simply because Olrox begins to prod at Mizrak again with the line "Who pays for it? Will you?"

Oop naked Olrox. However, despite Olrox's ass being very clearly on display, he's not the main focus since his face isn't shown. He's only here to showcase the visual contrast of him being naked to a fully clothed Mizrak. Even his dagger is strapped to his thigh, which only means there's even more layers to his protective bubble he surrounds himself in.

This close-up is important because it's a declaration of how much Mizrak doesn't care in the slightest. His facial performance, aka what we're focused on, doesn't look like he's lying or secretly worried either, he's genuinely disinterested. He just wants to get dressed and leave because Olrox keeps prodding at HIM for his opinions. As disinterested as he is for whatever Olrox has to say, he's disinterested in shedding his opinion.

This midshot is so casual. He is very non-nonchalantly leaning back with a smile and jokes about demons. The camera moves with Olrox. Camera pans normally mean revealing new information visually, as if something is off camera, similar to the bed reveal at the beginning of this whole scene. What Olrox is doing is revealing new information. Also, he is on the very right of the screen then slowly gets pushed a little more towards the center, but still on the right. Having a character placed on the very cusp of a stage makes the visual balance feel really off, therefore as an audience, we feel really off-balance. So couple that with Olrox's humourous attitude with an information dump...

This so interesting because it sprinkles in that Olrox knows a lot about the forge master ability, hell itself, and a lot more we don't get privy to. He knows way more then he lets on.

This ONE LINE gets three different shots. The very casual, humorous sentiment gets interrupted visually with extreme close-ups of Mizrak who is clearly peeved and tense about this. The quick succession of jumping to different images makes us tense up. This is due to the timing suddenly speeding up AND where the camera is placed is so drastically different.

He's reacting to the conversation unlike how he has before.

Now Mizrak's hands are fully covered, the last part of his skin, the last part that Olrox used in an attempt for vulnerability. Mizrak's guard is now unwavering, covered head to toe. He's gone from reserved and quiet to angrily guarding again.

Lol you thought I was done talking about divides and boxes, you are WRONG.

Mizrak is boxing himself into all his preconceived notions of religion. This is the only time he's been aligned inside of the door frame. Mizrak is done with this conversation and he doesn't want to hear anything else.

Also, funnily enough- Olrox takes up the amount of space in this shot as to Mizrak and the door. Compositional it does make it feel more filled up rather than empty, showcasing Olrox is listening, peeved, but he is listening. It also might hark onto the Olrox God connections that are being subtly slid to us, though this feels like a slight stretch. There's a stronger Olrox God parallel I talk about later, so pocket that thought!

I have to skip some of the shots because of the image limitation, but thought this one needed to be addressed!

Not only does this wide shot make us feel really pulled away and disconnected from whatever private conversation they were having. It also makes us feel like after this interaction, whatever same understanding they had, is gone (well not completely gone, it has to be rebuilt again). Mizrak's unrelenting faith in one God is causing a rift, a divide if you will between the both of them. They feel so separated, so distant from each other because Mizrak is still really stubborn.

Then after all is said and done. After Mizrak has the final say. He leaves and Olrox watches. Like episode 08. Again.

Olrox is pushed into a box, which funnyily enough, Olrox tends to be seen in a lot of boxed-up framing to the right of the screen. You can see a visual collection of it here. Whenever he's from the left of the screen boxed up, it's usually turned towards himself like an inner reflection.

Ok, I have to skip some more shots to get to here.

"One God. And you think he can protect you?"

This is major foreshadowing but the one God, that Olrox scoffs about is himself. This close-up solely focuses on how he looks down and watches Mizrak from above. Much like how God is described in scripture.

Psalm 53:2 NIV: God looks down from heaven on all mankind to see if there are any who understand, any who seek God.

Psalm 102:19 NIV: The Lord looked down from his sanctuary on high, from heaven he viewed the earth,

Olrox looking at Mizrak from above as a protector happens numerous times in episode 08.

There are also a ton of bible verses about living under the shadow of God, it's considered a positive thing because God's shadow covers the entire body, therefore a person is fully protected.

Psalms 91:1-2 NIV: Whoever dwells in the shelter of the Most High will rest in the shadow of the Almighty. 2 I will say of the Lord, “He is my refuge and my fortress, my God, in whom I trust.”

Psalm 36:7 ESV: How precious is your steadfast love, O God! The children of mankind take refuge in the shadow of your wings.

(i do realize now all my examples are psalms i hope that's ok to prove a point LOLOL)

Olrox is the sole protector of Mizrak to the point where he even drags him away for his own safety. The shot choice when he says it is a close-up shot of his face and his eye is slightly glowing, making him appear way more supernatural, almost god-like in a way.

It hasn't been confirmed (or denied for that matter) if Olrox's creature form is the Quetzalcoatl (an Aztec deity), but the god parallels are very apparent from the get-go, and a lot of the fandom (aka the audience) who are invested in Castlevania have placed this label onto him not only for the reasons mentioned above BUT also due to his association to Mizrak, who is a man who fights for God. However, this aspect doesn't get fleshed out like their vulnerability because Olrox only goes into this protector role at the very end of the season. After all, that is when he has a change of heart, much like Mizrak. This means this will not be the last time we will see Olrox in this role even after the break-up.

To wrap this up, vulnerability as showcased in episode 04 does appear in episodes 03, 06, and 08! I personally believe though that episode 04 however really hammers you on the head with it because you're able to play around with someone's literal nakedness as a visual metaphor. This episode is supposed to make you really conscious of them and the decisions they decide to make going forward. It is the bridging point between episode 03 and episode 06. It's a stab in the heart when you watch episode 08.

Vulnerability and the ability to open up is a massive thing between these characters and it's only going to get more raw and more human as the series goes on. We see it happen when Olrox is the one to open up first. One thing I noticed from both Castlevania and Castlevania: Nocturne is that love can be the most damning thing or it can save you. The choice, however, is up to you. However, to love is choosing to be vulnerable. By the way, love isn't just romantic it can be very much platonic and familial as seen with practically all the characters, both current and past... Olrox and Mizrak though are just really complicated and messy. Aren't all characters though? Isn't that what makes them human, even if they've lost it centuries ago? HAHAHASBDHADSB

(ok so the paragraphs below is my personal opinion but i think they're a good ending note/side tangent)

If we ever actually get an explicit scene it's going to make a specific commentary on how these characters have developed from season 1 to whatever season they have sex in, especially how they go about sequencing, pacing, and shot choices, especially with Netflix censoring and rating requirements. Limited things you can show, and limited things you're allowed to even imply, so everything has to make sense to what they want to portray AND say. Even simplicity requires a lot of thought. They can do some really cool stuff with it in which vulnerability, both physical and emotional, gets explored between Olrox and Mizrak. Sex is actually a very interesting way to explore a dynamic, I feel it's really underutilized, though it's mostly in part to a societal downpour view on it. With Mizrak and Olrox, two very withdrawn characters, you could say something really interesting about them as individuals and as a pair that you might not be able to do when clothed. The commentary may be as simple or as profound as the creatives behind this want it to be.

A counterpoint though is that you can very easily make a non-explicit scene feel really explicit and sensual without sex or kissing. While yes, we want confirmation through that means, don't get me wrong I love when queer love is straight-up told to us, there's something about telling a story of intimacy between characters that will often engage us first into a story. Phrases like "This is gayer than gay sex" are coined due to the emotional connection a character has, leaving a far more profound impact on an audience. Things like non-explicitly romantic touches like hands, the way the character looks at a person, communication, etc etc, are ways countless media have explored intimacy. Which Mizrak and Olrox already have. Why not build upon a solid foundation?

Whatever the pathway is, it will fit inside the themes of Nocturne and its aspects of revolution, freedom, and choice which is crazy to think "Olrox and Mizrak intimate scene??? meaning-" YES, it can (like sexual freedom, though I don't think it would be explored, it's just cool to think about). All of their scenes serve to strengthen those show's themes since they're a side plot. But I digress! I'm excited to see how they further Mizrak and Olrox's dynamic in a visual manner!

Okay, with that all said, I'm done with episode 04! One more episode to go! This was all for fun and to be silly about a show I really enjoy, but I hope this gets you to rewatch Nocturne! Apply this to other scenes! Enjoy the craft of animation!!

[pillowspace]

csd ask about that cool concept you had for the end of the fic? may we know any more about it? :3

OH. HEY WAIT, DID I EVER SAY WHAT THAT WAS? I don't actually know what you're referring to exactly, but I can guess

Y/N was never actually from that universe. The CSD universe. They were never even from it. I don't know if you remember the frankenfate au but this was a little secret I held that made frankenfate funny to me, because... because Vale kinda was from a soulmate AU. It just wasn't of the soulmarks or red string variety.

Y/N had a destiny in a modern mer!DCA world, but they were taken from their universe as a toddler to eventually give Sun and Moon a weakness years down the line. I... I know it was William Afton's doing, I think Henry had trapped him someplace and he needed the power of multiple gods to escape or something like that? So he was using Eclipse to get his way, but he secretly had plans to also kill Eclipse once it was all done? That was probably it??

Being brought into this universe, it was like... forcefully jamming together two soulmates when Y/N's narrative was meant for a different Sun entirely. Y/N would find this out later, and although it'd be horrifying to them, they'd eventually decide that it didn't matter if this bond was planned with ill intent, they cared about Sun and Moon now so they had to HELP them! Once William or whatever the hell I planned to call him had trapped both Sun and Moon and gotten what they needed out of Y/N, William would just... send them back off. You've completed their role in this universe. Bye bye now.

So Y/N would've been sent back to their original world. Lost and horribly confused. They were only human. They didn't know how to go back. They're still reeling from realizing that they had been a trap since the moment they met Sun. They could just... stay here, even if they're too scared to approach their own family. Knowing how their life was meant to play out, it's not hard for Y/N to stick close to the sea and soon meet the Sun and Moon they were fated to meet. And it feels like something's clicked, they had always been drawn to water, but they also feel so... empty. Their wants conflict with their fate because a god had decided to tamper with it. They miss their universe, this isn't the home they were raised in, they want to go back!!

And then they meet Michael and Elizabeth. Two gods who Y/N had met in godly disguise before, so they don't recognize the siblings. But Michael recognizes them, and after some conversations, Michael picks up on the fact that Y/N isn't some parallel version but instead the very same person he had met before. So Michael makes an offer. I can't get you directly back to your universe, it doesn't work like that. But it does work like a staircase. Each step is a different universe, and if you'll let me help you get through each world having fulfilled a goal, you'll be able to move on to the next. At the end of that journey will be the universe you truly see as home.

Y/N agrees, and later has a heartfelt goodbye with the mers. I'll... note that the mers don't really talk, so it was just Y/N thanking them, apologizing, and wishing them well in life.

Truthfully, I know I had a reason for how this happens, but I can't remember it: CSD Eclipse also travels with Y/N. They're there, I can't remember why 😭 But their dynamic is... easier then. The two (three?) of them bicker back and forth, but that's a lot healthier than whatever Eclipse had going on previously.

Fun fact!! One of the universes they would end up in on their journey back to the CSD Universe would actually have Sunna and Meno. Y/N would've gotten to meet them separately. Eclipse would've had... feelings about that universe.

I didn't want to drive in the idea of soulmates being this big and necessary thing, so Y/N would eventually come to learn after their happy ending with the gods that the mers are now happy with friends of their own. Everyone got what they wanted, even if the whole rhythm of life got disrupted into a new story.

SO? SURPRISE? CSD Y/N WAS FROM A MER UNIVERSE THE ENTIRE TIME? I hope this is coherent, I'm fighting for my life to sound even remotely coherent in any of this

[pleasestayawayidonotlikeyou]

Hi!

I have a request for FellSwap Gold bros, UnderSwap bros, and Underfell Bros x SUPER shy reader!!

Reader having really bad social anxiety, has a hard time speaking up and is just super quiet, and just generally nervous all the time due to past trauma.

How do you think the skeletons would act towards an S/O being so shy??

Featuring: Sky, Honey, Red, Edge, Wine and Coffee.

Masterlist

Sky

You remind him of his brother a bit.. not completely since you two have a lot of differences yet it's probably the shy personality.

He has no problem with you being shy! He just wished you'd talk more when you two go out.. oh wait yeah you're socially anxious.

Sky does his best to keep you relaxed, he hates seeing people he loves nervous or anxious, he just hopes the methods he uses with his brother work with you too..

If you ever want to talk about your traumas with him, he'll feel honored, people only do this kind of thing when they trust each other, and to know you trust him enough to talk about traumatic things that have affected you in the past.. it makes him feel like he's one of the most important persons to you.

Please tell him if anything is bothering you, he doesn't want to see you uncomfortable nor panicked.

Honey

"Welcome to the club sweetheart.."

Honey also has a hard type speaking up, more with strangers than with people he's friends with, and his anxiety doesn't help much.

So, why not help each other out?

He's not the best, yet he's always there to listen to you if you'd like, and he'd be very happy if you'd hear him too.

At the end of the day, the books he writes are a distraction- an escape from reality he found to both make money and to do something he enjoys, so maybe you can find something to distract you too?

Your shyness doesn't bother him, if anything it's something he knows is a part of you, and he's always by your side when he can.

Red

Oh well, guess you two aren't really leaving the house..

Red doesn't really like leaving his house, so if he isn't working he's most definitely chilling on the couch.

He's not the best at giving advice, damn, the last time he gave someone advice that person tried to poison him, yet he'll be happy to listen to you if you're ever comfortable enough to do it.

Your shyness and quietness doesn't bother him in the least, it feels kinda good to just.. rant to you about work while cuddling y'know?

"Ya may not even realize, yet cha' make me the happiest skeleton in all earth sweetheart."

Edge

He's the literal opposite of you.

Edge has a talk with you, asking if you would like to have some therapy sessions, and if you agree he's already paying for it.

Tries to convince you to leave the house when he's not working and the weather is good, he doesn't force you but he'd be happy when you successfully socialize with someone, even just a little bit.

Stands up for you, no matter the situation. He's pretty famous because of his cooking you know? Who's gonna turn him down huh? One word and a security guard will take that person away.

He isn't someone to give advice about trauma, if anything he'd much rather hear you trauma-dump, that way he can find the best way to try and help.

Wine

His brother's just like you. He already knows what to do.

Won't force you to leave the house if you don't want to, yet he'll "reward" you with small things when you do, buying ice cream, plushies you want, books or video games if you like them.. you get the deal.

Something he noticed was wherever you go, his brother follows, guess Coffee finally found someone like him huh?

If someone even dares to be slightly rude towards you, Wine makes sure that person won't ever bother you again.

Anything you tell him, he'll give advice, no matter what it is.

Coffee

He's EXACTLY like you.

Coffee has a really bad social anxiety and has a hard time feeling comfortable to talk, so he mostly communicates by notes!

May influence you to do the same as him...

Doesn't bother him that you're quiet, quite the opposite actually, after hearing Rus and Cash ramble for HOURS on the swap papyruses reunion, he couldn't beg more for some silent cuddles with his loved one.

If you ever want to talk about your traumas with him, he's going to listen, even if he doesn't give the best advice.

[kirkwall-tourism-department]

Extra Reading

Some very short emmrook fluff, with hopefully more to come!

I feel like most people's emmrook dynamics fall into either student/professor or idiot/smart. I have a lot more fun with the latter.

The smell of incense drifted out of her new companion's hallway, a warm glow peeking out from beneath his door, a stark contrast to the otherworldly purple haze that hung in the Lighthouse's library. They had returned from their trip to the Necropolis earlier in the day, the professor and his skeletal assistant settling in quickly. Rook prepared herself for a conversation that had become routine at this point- introductions, explanations, questions. Every one had gone differently. Bellara had been beside herself, the history she had searched her entire life for coming back in a blighted, twisted form hitting her like a punch to the gut. Davrin, on the other hand, had responded to the news with the verbal equivalent of a shrug. Based on her limited interactions with the man when they had retrieved him from the Necropolis, Rook was preparing herself to field a deluge of questions she was wholly unequipped to answer. Taking a deep breath, she knocked on the door, and it flew open in response a few moments later, Manfred standing in the doorway, hissing happily. 

“Come in!” The professor greeted her from the other side of the room, still filing the mountains of books he had brought into his new home. After organizing up the shelf he was working on to his standards, he turned to face her. When Bellara had suggested adding a master necromancer to the team, the image Rook had conjured in her head certainly wasn’t what stood in front of her now.  Initially, she had pictured a dour, silent figure robed exclusively in black and with a permanent scowl carved into their face. Instead, they got a sharply dressed, uncomfortably polite man who always wore a whisper of a smile. “How may I help you, Rook?”

“Just wanted to see how you were settling in, talk to you about what’s going on.” Rook responded as she took in the room that had seemingly apparated when Emmrich entered the Lighthouse. Two stories tall, lined with oak bookcases and centered around a spiraling staircase. Rook was unsure if the stone autopsy table in front of her was something Emmrich brought from the Necropolis or if the Lighthouse was able to sense the needs of its inhabitants. Emmrich went to sit at his desk, and motioned for Rook to sit in the chair opposite him. Manfred moved up the staircase, taking a pile of books with him.

“You did begin to explain the situation at the Necropolis, but any further elucidation you could provide would be welcome.” He answered, his hands motioning throughout the sentence to add emphasis. The various bracelets and rings that banded his arms softly jingled as his hands moved, creating a gentle chorus that underscored his voice. 

“Well,” Rook took a breath, preparing her speech. “The Elven gods are real. I disrupted the Dread Wolf’s ritual to tear down the Veil. The imprisoned elven gods escaped, and he got stuck in the Fade. Now the two that escaped are out there, blighted, and planning to conquer the world.” She had never had a way with words. The professor blinked at her, processing the information she had dumped onto his lap.

“Ah.”

“Yeah.”

“You have a surprising amount of levity, given the situation.”

“I don’t really see much benefit in being a pessimist.” Rook shrugged, unsure how to explain how her apparent optimism belied the ironic detachment she felt from the world around her. Forged in the nihilism of the alienage and honed by the Warden’s flippancy towards their own mortality, her separation from the world around her was an effective armor, even if it often left her envying those who walked though the world unprotected, but feeling.

A loud crash rang out above them.

“Manfred.” Emmrich’s eyes widened with concern and exasperation. “I apologize, but I must excuse myself for a moment. I need to make sure he’s okay.” She watched as the professor walked up the staircase, disappearing as it spiraled higher. After a few moments, the itch that appeared underneath her skin whenever she had to sit still for too long surfaced, prompting her to stand and pace the room. The bookcases that lined the room drew her to them, rows and rows of books of mismatched sizes organized as neatly as possible. Trailing her finger on the spines, she read the titles as they passed by. A History of Necromantic Tradition in the Storm Age. In Pursuit of Knowledge: The Travels of a Chantry Scholar. Metaphysical Fade Theory and Practical Applications. Her finger stopped on the massive tome when she noticed the name of the author listed beneath it. Professor Emmrich Volkarin. 

Shit.

It was difficult to not feel intimidated by him. Despite his kind demeanor, she felt out of her depth when she spoke with him. More than once, he had used words she had never heard before and couldn’t guess the meaning of. She had only become literate a few years ago, and even then, it was by the most generous of definitions. Growing up in an alienage didn’t offer many educational opportunities, and after joining the Wardens, she had been taught the bare minimum necessary to finish her training. Despite her literacy struggles, she had always harbored a desire to learn more about the world around her, about the world outside the towering walls of the alienage. Originally, it was driven by spite and jealousy from her childhood- seeing the human children going to lessons in the Chantry, overhearing their conversations about what they had learned that day. Nonetheless, the desire had clung onto her into adulthood.

“Find something interesting?”

“Sorry, just getting distracted.” Rook snapped out of her thoughts, bringing herself back to the conversation at hand. 

“You’re welcome to borrow anything that interests you.” he offered as he sat back down in his chair. Rook tried to stifle the laugh that came out of her. The thought that she would be able to understand any of the texts that surrounded them was completely absurd. The Professor raised a questioning eyebrow in response to her outburst.

“I appreciate the offer, I just…” she trailed off before finishing her explanation, a hot tide of shame beginning to wash over her. Did she really want to admit to him that she would struggle to read even the simplest book in his collection? Her borderline illiteracy usually wasn’t a point of embarrassment for her, given the wide array of other skills she had. Fighting darkspawn rarely challenged one’s academic abilities. In this setting, though, without a sword and shield to demonstrate her other competencies, the deficiencies she did have felt glaringly obvious.  “I’m not much of a reader.”

“A pity.” Emmrich sighed, a slight air of disappointment gracing his dignified features. “Though, I often find those who don’t enjoy reading simply haven’t found the right book yet.” The slight waves of embarrassment that had been lapping at her feet began to rise, threatening to drown her. She had hoped her refusal would have been enough to drop the topic, and she wouldn’t have to make an ass of herself in front of 

Then, Rook reminded herself of who she was. Why was she embarrassed? Who cared if she could barely read? She could kill hordes of darkspawn with her eyes closed- how many literate people could say that about themselves?

“When I say I’m not much of a reader,” Rook explained, “I mean I can’t read very well. So, despite how interesting I’m sure many of these books are, I wouldn’t get much from them.” Emmrich’s expression softened, but instead of the pity she was expecting, he seemed to be embarrassed himself. Suddenly, a light appeared in his eyes.

“Would you like someone to teach you?”

[girlwithwolftatoo]

What is chained -Chapter 2

Warnings: None

Summary: Boys like party

Words: 3525

Quo tendimus?

During the campaigns, the soldiers' bundles, regardless of their rank, carried more or less the same thing: crackers, a portion of spicy cheese, bean paste. They took it in the breaks, the proper meals were mostly for the evening, and the pungent and intense aroma of the broths in the pots - patchwork broths, Acacius called them - gave him a melancholy that he could not name.

In the palace, the breakfast table was so exuberant that the general could not believe it was for only two men. And it certainly wasn't; emperors usually lunched with one or two men they trusted, weak senators who complied with their whims, foreign merchants who sought to curry favor with them, and the like.

The twins ate, as was the ancient oriental custom, lying on their sides between fluffy cushions lined with vibrantly colored fabrics; Geta was already fully dressed, Caracalla on his side, was wrapped in a gold-embroidered tunic that slipped off his shoulder, still in bedclothes, and at his side, fastened by his long solid gold chain, his monkey.

A servant approached to offer him water for the lavatory, and the younger twin made a gesture of displeasure, holding a hand to his head. When another servant poured him wine, his face changed to a relieved smile.

“This I do like,” he commented, contentedly, raising the glass to his lips. Geta reached out to take a couple of ovis hapalis, one after the other, popping them whole into his mouth, and only then did he see Acacius arrive.

“Ah, general!” he said by way of greeting, his mouth full of egg. He chewed with the delicacy of a cow and gestured to the nearest cushions “Please...have breakfast. You're up very late.”

“Actually I've just come from the stables” replied the general, sitting down with his legs half crossed. Caracalla, busy emptying his second cup, didn't even look at him. “I had a very enlightening night, your majesties, I would like to share my findings as soon as possible...”

“We don't discuss politics while we eat, do we, brother?”

Caracalla did not reply to Geta, but stared into his goblet, thoughtfully. The older twin cleared his throat.

 “Brother?”

“This wine is sour” Caracalla muttered. Geta snorted, grinning sarcastically.

“Can you hardly tell? It's your second glass, isn't it?”

Caracalla gestured to the servant with the decanter, and when the servant bowed, he grabbed him by the collar of his robe with such force that he almost threw him face first into the table.

“This wine is sour” he hissed in his ear. Geta watched with silent reproach, Acacius for his part stirred, almost on the verge of rising.

“Majesty” he called to him with the firmness with which he would address a clumsy soldier.

“Send some wine that's good!” the twin spat, releasing the servant only to add, ”And somebody whip this one!”

“Majesty!” Acacius raised his voice, and this time Caracalla faced him, shrugging.

“They've brought bad wine,” he excused himself. Acacius frowned.

“Majesty, though you may not like it, it is through servitude that people know masters. If a servant is constantly mistreated, people will think the worst of you.”

“Well simple, we cut out the gossipers' tongues.”

Geta decided to intervene, addressing his brother more than the general:

“Servants should not talk about their masters behind their backs, slaves much less, they know it so what's the problem, are you implying that they are the ones inciting the people, general?”

“Nothing of the sort,” Acacius replied, making an effort not to become impatient. He searched for a way to explain himself, for he noticed the venomous eyes of the two brothers upon him. “Consider a horse, your majesty. A well-kept horse takes notice, his coat is clean and shiny, his mane smooth, his legs are strong and light, his head is proud. A horse will never say a word about his master, but whoever sees him will know, by that alone, that he is in good hands or not.”

Silence, on Geta's face appeared a sign of understanding, but Caracalla, indolent, jingled the monkey's chain and remarked:

“Dondus looks very well, if the people see him they will know he is happy here. And the servants should be too.”

“Brother, the general has spoken a truth” Geta rebuked him, taking another ovis from its bowl “A wounded servant is obvious to anyone's eyes, even if they don't see his marks.”

“Who cares about that? I'm talking about Dondus” insisted Caracalla with a childish grimace.

“Honestly no one gives a fuck” Geta whispered, shoveling food into his mouth. Something exploded in the head of his twin, who stood upright like a snake about to bite.

“What did you say?” he whispered, squinting, and receiving no immediate response, he picked up another ovis and threw it in his brother's face.

“What do you think you're doing?” mumbled Geta, and the two began to argue loudly. Acacius sighed, pouring himself some sugary globi and trying to ignore the quarrel; if he were in the army, he thought bitterly, he would send those two rowdies to be tied up in the sun for a while, but even his new appointment allowed him no such chances.

It was not possible for him then to speak to the emperors, and at noon the parade of audiences began, where he remained standing in the midst of the thrones, seeking to whisper some advice to them when he noticed, shrewdly, that neither knew what to say; the day was brief, an hour at most, and then they both retired to their quarters.

“Ah, by the way,” jumped Geta ”we will send you to one of our dressers, general. You will come with us.”

“Where to?” asked Acacius, frowning.

“There will be a nice get-together this evening at Scylla's house, I'm sure you've heard of him. You are invited, in our name.”

“No one informed me of a party, and besides, I thought I told you about it” growled the general. Geta smiled, and his brother, having forgotten the morning's grudge, hung on his shoulder.

“We're not giving the party, general, that's out of the norm, isn't it?” Caracalla pouted. “You're coming with us, and you'll have a lot of fun. You can tell, with all due respect, that he hasn't had any fun in... a long time....”

Caracalla let out a chuckle and left with awkward steps. Acacius wondered if it would not be wrong to stick to the original plan and better, taking advantage of the party, take the heads of those two unpresentable.

Scylla was, as Thraex explained to him, the master of immense vineyards in the south of the empire, and he had a family engaged in those same duties in some provinces of North Africa, so in short, he was an immensely wealthy peasant, in the senator's words. But in addition Scylla was a quirky, fancied himself an artist and was, in short, a suitable pontifical friend for those depraved twins. Acacius took that in the best way, for one does not defeat the enemy by attacking and already, one must have a proper idea of the terrain where battles will be fought, so he accepted with a false good face to go in the same chariot with the emperors, who had chosen for the occasion really unusual fabrics: Geta was all dressed in blue and gold, Caracalla however, sported a long tunic of thin linen and on top, a pink cloak embroidered with pearls and natural shells.

“What do you think, general?” he asked, cocking his head coquettishly. Acacius found no kind words so he repeated:

“Is there any reason for this special occasion, your majesties?”

“Don't you know? It's a bacchanal. Our dear Scylla has just won a fortune through his third son in Caesaria, and we're going to celebrate.”

Acacius had understood that bacchanals were forbidden but imagined that, emperors being what they were, they had no compunction about allowing them as long as they were invited. The carriage rattled through the city in the twilight to a centrally located villa, the interiors of which were lit by a host of lanterns, some decorated with expensive tissue paper in shades of pink. The servants who greeted them bowed deeply, and were bare-chested; Acacius sighed, it was going to be a very long evening.

There were already at least two dozen guests, all dressed in the same bewildering extravagance as the emperors or even more: there, one man wore a grotesque Greek mask and a crown of thistles on his hair, there, another wore a diadem with real ram's horns entangled in ivy.

“The theme of the feast is the gods,” Geta explained to him as he took two goblets in passing and handed one to Acacius. “I am Helios, see, lighting up the dark sky.”

Caracalla was already lounging on a mountain of cushions, pampered by more half-naked servants offering him viands and wine, his monkey, who for the occasion wore frightful golden wings, was pacing back and forth as if fleeing from the crowd.

The host appeared soon after, also dressed in blue and with vine leaves on his head. Scylla was precisely the kind of man Acacius could not stand: goofy, petulant, self-satisfied, he knew it just by looking at him and above all, by the way everyone applauded him as if Jupiter himself had come to Earth; the rich landowner went to the emperors and bowed deeply to them.

“My majesties!” he exclaimed in a strangely shrill voice. Dondus leaped upon him and tried to snatch some of the grapes he was carrying among the vine branches, and let out an anxious chuckle. “Welcome to this humble abode! I pray the gods you have everything you want.”

“Everything, yes, as always, Scylla” Caracalla reached out a hand to stroke the hair of one of the servants surrounding him. Acacius pretended that the statue beside him was fascinating, but Geta pointed it out, raising his voice:

“Scylla, let us introduce you to our beloved general Justus, Marcus Acacius.”

The man waddled over to the general and clapped his hands, delighted.

“Oh, it's quite a pleasure, general! He is much taller in person, yes, and more wonderful!”

Acacius feigned a smile as he gazed at that made-up face with rudely red cheeks.

“How did you persuade him to come, your majesties? I always hear that the general is very secretive.”

“The general has been promoted... to royal advisor,” Geta explained, giving Caracalla a warning glance; no one outside the senate knew Acacius' true role and so it was to remain.

“How, a general? He sure knows a lot about wars and conquests, of course...” replied Scylla. “Does that mean he will no longer fight?”

“There will be more victories for Rome, of course, but for now he delights us with his keen mind and prudence.”

“What do you think, Scylla?” Caracalla leaned forward, resting an awkward hand on Acacius' shoulder. “He's come dressed for the occasion, can't you guess who he is?”

“Why certainly, no... uh, let me think, majesty...” The tubby landowner cocked his head like a deaf dog “Jupiter, perhaps?”

“No, no, Mars! Take a good look at his mantle...”

“Ah, ah! Of course, Mars” Scylla chuckled ”How else? The god of war who has benefited him so much, yes. And he looks very good, if I may, just the other day I met a bronze artist, he's on the lookout for models here in Rome, our general could well pose for him...”

Soon Acacius understood why Scylla was the favorite of the emperors, he gave them everything they wanted and he knew their weaknesses very well, so they paraded before them the most exotic dishes, wine in abundance and servants who, especially with Caracalla, let themselves be done without complaining. The lightness of the atmosphere was due above all to the absence of women, and that gave the general a clue.

“I hear this feast is in honor of your family's good fortune,” he told him when they had been listening to the musicians for a long time and the emperors were entertaining themselves in a game consisting of the guests imitating scenes from the myths and stories, each one more ridiculous than the last. The host smiled, clearly blissful that he was addressing him.

“Oh, sort of. Wine, general?” with a curt gesture he called a servant over and took two glasses. Acacius accepted and took a sip, smiling to pretend he loved it.

“Exquisite. From your vineyards, I suppose.”

“That's right! A unique vintage, from my campo magno near Herculaneum. That's where my ancestors used to vacation, until, you know...” he made a noise with his mouth that simulated an explosion, and drank from his glass in large gulps. Acacius squinted.

“You've said something about your family before, haven't you? Something like that, were his words...”

“Well, well, General, what do you want me to tell you?”

Scylla invited him to sit down, and Acacius spent a while pretending to enjoy the talk, and discreetly emptying his cup each time it was refilled, unlike Scylla, who was already somewhat drunk at the beginning of the party but was now at a loss.

“I had five children, all boys, glory to the gods!” he exclaimed, raising what was like his eighth cup. “Three of them are married here in the empire, the others in the provinces, and I have about twelve grandchildren. That's more than enough for me, when my Bellona died I swore not to marry any more, with once I had already been criminal.”

“Criminal, to marry?”

“I don't like being a liar” he explained with a pout ”I don't like women. I understand that you find them pretty and all that, who would deny, for example, the loveliness of two firm breasts? But I did my duty, and I don't want any more whores in this house... Or what do you think, general, do you lean more towards Mercury or Venus?”

Acacius smiled out of commitment.

“This party is of a high standard, sir” he commented.

“Scylla, please, General, call me Scylla. There is nothing... that would make me happier right now.”

“All right, Scylla” Acacius made a toast gesture, and that ended up disarming the landowner. “You must have spent an awful lot of money for this... lovely evening.”

“Not a talent out of my pocket” the man hiccupped, smiling mischievously ”This party, as I told you, is thanks to my son... or rather at his expense.”

“I don't understand.”

“You see...” Scylla leaned in to whisper to him, his breath laden with the scent of fermenting grapes “My dear Septimius died a short while ago.”

“I'm sorry to hear that,” Acacius voiced quickly.

“No, no, please, it's the best thing that could have happened to me! Septimius was ungrateful, he wanted his vineyard to be just for himself and his despicable little half-breed children. My children, they pay me every year two hundred talents each, as compensation for my help, and so we keep in touch and I make sure their future is good. Well, me and their majesties...” he raised his glass with trembling hand towards the mountain of cushions where the emperors were resting.

“Two hundred talents per child, that makes... a thousand talents a year minus taxes” mused Acacius aloud.

“Taxes?” Scylla let out a chuckle and, with the same hand that held the cup, gestured around him “This, general, is my tax! Their majesties enjoy it very much and I... I keep my well-earned money without interference. Of course, now that Septimius is dead, all his goods pass to me, do you know why?” A servant poured him more wine and half of it was left scattered on the cushions, Scylla no longer supported himself.

Acacius squinted and shook his head uneasily.

“Well, because I killed him!” Scylla smiled exhibiting severely damaged teeth. “I paid some mercenaries, they got rid of him and received, as promised, a quarter of his earnings. And ah, the bastard sure was living the good life. After the cashing out I'm left with a little over two thousand talents, isn't that fortune, general?”

“Indeed it is,” muttered Acacius. He was disgusted, that man murdered his son out of greed, and he found it commendable, he wished to teach him a lesson but it wouldn't be wise to rebuke him in front of the crowd, his reputation was at stake, he had to be careful and....

“General!” Geta approached him, reeling from the drink.  “You're having a good time, aren't you? Sorry but you must help me find Dondus, my brother has lost sight of him and...”

Caracalla was even drunker than Geta, if that was possible, and was crying his eyes out as guests and servants tried to comfort him. Grateful to have an excuse, the general abandoned Scylla and went out into the gardens, in search of the monkey; to his surprise, Geta was with him, muttering something about his brother's stupidity in taking the animal with them.

“It's always the same, he gets drunk and lets it loose out there, then he can't find it and thinks it's been eaten, the beasts or the slaves. He has this crazy idea that slaves eat monkey.”

“Hungry anyone would eat whatever they could find,” punctuated Acacius, who was using a long-range torch to peek through the leaves of the trees.

“General, I would like to... ask you a great favor, now” Geta bowed his head, dizzy but aware. “I know what people believe, that my brother and I will one day slit each other's throats, but that is not so. I recognize his faults, which are many, but I love him. We've been together since... since our mother's womb, yes? I haven't spent a day without him. If anything were to happen to him, I...”

The emperor's eyes filled with tears, Acacius found it pathetic but, gentle, he patted him on the shoulder as if he really wanted to comfort him.

“Your Majesty, it is my duty to protect you both, but to achieve this, I need your trust, and your understanding. I am nothing... without Rome at my back. If I too am lost in the eyes of the people, there will be no one left to aid you.”

He dared to be this blunt because the emperor was drunk, and to his relief he took his words calmly, nodding meekly.

“I understand, general... yes, we will... we will do as you say...”

Acacius felt that battle would be lost as soon as the effects of the alcohol wore off, but for a moment he saw himself undefeated.

Dondus was high up in a Thracian palm, it took three servants, a pole and a fruit to force him down, and Geta reluctantly handed the golden chain to Acacius, who had to act as guide. Caracalla, seeing him return with his pet, exclaimed as if he had just been stabbed, and threw himself on the ground.

“Dondus! My dear... precious... sweet little friend!” he sobbed, hugging the monkey with devotion. Then, he looked at Acacius and hugged him too. “General, you're such a hero, you're returning my adored Dondus to me safe and sound!”

“Brother, calm down,” Geta told him, obliviously oblivious.

“Oh, General, I'd kiss you if I could! What do I say, of course I could!”

And to the mute amusement of the crowd, Caracalla planted a kiss on his cheek before Geta pushed him away. Acacius was livid but kept a hieratic face.

“I think their majesties need to return to the palace. It's been a long party and... surely Dondus is exhausted” he added to get the younger twin to agree to his suggestion. Geta agreed, and the two had to be half carried back to their carriage.

Acacius had to endure sitting in the middle of the emperors, Caracalla was sound asleep against his shoulder, Geta nodded, peering out the sleeping city through the holes in the wooden window.

“It's pretty, isn't it? Rome” he mused.

“Yes. It is,” Acacius affirmed.

“Our father adored it. More than he loved us. Actually I don't think he ever loved us” he added bitterly. “Mom loved us, but she's gone too.”

“Losing a mother is painful.”

“She would tell us stories until the wee hours of the morning...she said that, since I was older, I should take care of him.”

Geta motioned with his head toward Caracalla, who snuggled more against Acacius in his sleep.

“Do people really hate us?” the elder asked, looking at Acacius with an expression he had never seen on him before, that of childish anguish. He hated them both, with all his heart, but he couldn't help but imagine them as children, two spoiled brats who nevertheless looked at the world and took it as an enemy, or as treasure.

The general bit his tongue.

“Actually... I'd like them to love us,” Geta continued in a weak voice, her eyelids drooping at intervals. “I really would like...”

Drowsiness got the better of him and finally, the carriage fell silent.

[supremechancellorrex]

I don't think Mai saving Zuko's life and putting herself at risk of being killed by Azula is simply "Saving the jerk who dumped me", that's more how she dryly responds the guards when they ask. I don't find it likely Mai would have responded with something mushy. As for her being bitter about the break up, that's quite understandable. She spent most of Book 3 trying to put some sort of work into the relationship, such as in Nightmares and Daydreams where she repeatedly tries to cheer him up. Of course, instead of speaking to her in person to get her to understand an understanding Zuko himself has only recently come to, Zuko never has the conversation with her.

Mai: "All I get is a letter? You could have at least looked me in the eye when you ripped out my heart."

The letter itself doesn't seem very explanatory. "Dear Mai. I'm sorry you have to find out this way but I'm leaving." So, she demands answers. It's important to remember that Mai was raised in the same culture as Zuko was, she herself has been gaslight and had her emotions disregarded by her own parents in childhood. If Mai hates the world and is apathetic, it would be because of that. But I don't think Mai does hate the world, she doesn't hate Zuko, or Ty Lee, or it seems the people she interacts with generally. Part of her 'hating' things seems to be said in jest, like on the sunset picnic with Zuko. She has only admitted to fearing Azula.

Regardless, after Zuko explains his side of things in the Boiling Rock, Mai chooses him. Zuko talks about creating an era of kindness in the series, and Mai chooses love over fear, rejecting Azula and Fire Nation ideology. An ideology that was demonstrated in Ozai and Zuko's conversation in the Day of Black Sun, where he rejected Ozai and the Fire Nation. The themes intricately link both personal and national motivations. So I think Mai does understand why Zuko turned against the Fire Nation. She doesn't argue that strongly for the Fire Nation in the Boiling Rock because when Zuko speaks with conviction, and passion, it seems she begins to realise the Fire Nation isn't worth it to the point she doesn't even manage the last word in the conversation and goes quiet.

Mai (to Azula): "I guess you just don't know people as well as you think you do. You miscalculated, I love Zuko more than I fear you."

In the end, Mai finds her motivation. Love. Something that seems in short supply in the Fire Nation. And that pushes her to action. I also don't think Katara would even punch her in the throat, because Katara has dealt with apathetic people before and it seems she tends to want to motivate them. Which she doesn't even need to do because Mai already finds her motivation. Ultimately, I doubt Katara would hate Mai, who isn't sadistic nor particularly mocking. Meanwhile Azula languidly traps Aang under rubble, sets fire to the walls around him up his fear and make him struggle more, then slowly walks up to him with a revelling smirk as if savouring the final blow. Katara would hate Azula, which she has demonstrated in canon.

Meanwhile, "Don't ever break up with me again" sounded more like a joke, born out of dry sense of humour, than anything serious considering she smiles and if we are to take comic canon into account she breaks up with him. I have doubts the line in the scene meant Zuko was imprisoned forever and more was supposed to be tongue-in-cheek.

Plus, I tend to personally see show canon, written by Bryke, Ehasz and the rest of the Avatar writing team, more difficult to disregard than comics written by another writer that are infamous for being contradicting and butchering characters. I doubt the original intentions of the cartoon and comic really match. Regardless, you are right in that the comics, no matter horribly written are canon, which is a shame for pretty much every character, and Mai isn't alone in being impacted by bad writing (although not unsalvegeable) under Gene Yang. As for that scene at the end, I doubt Mai was there because of Zutara, in canon she's Zuko's girlfriend at that point, it shows a new unity (just like Ty Lee with the Kyoshi Warriors) and it's probably also the writers wanted to make that "I look like a man" joke as fans online had been saying stuff like that at the time because they didn't think Mai was pretty or feminine enough.

"I think Katara would get along with Azula/Mai because female solidarity!"

Cool. I think Katara would punch fascists in the throat.