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bestworstcase · 4 months

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I can't remember whether you've answered this before, but. You postulate that everything Salem does in 8.9 after learning Yang's identity is a ruse to justify letting Yang and the others go free; that threatening Emerald is a deliberate attempt to provoke Hazel into attacking her so she has an excuse to turn her attention away from the prisoners.

My question is: Why does she need an excuse? Salem doesn't answer to anyone, and I can't see any particular risk in just saying "I've decided you're free to go, goodbye" and leaving the kids baffled. So what does she have to gain from... making herself seem more dangerous and unreasonable than she is? Not that I think she feels any hope she could convince the heroes she's reasonable -- as you've stated, Oz has done a very good job de-personing her for a very long time -- but I'm not sure why she would go to the effort of constructing an artificial scenario solely to make her enemies think she's more monstrous. What's her motivation here?

in the course of answering the question of her motivation i'm actually going to lay out my argumentation for reading the salem vs hazel fight this way, 'cause i don't think i've ever done so comprehensively before. (on tumblr, anyway.)

the foundational theory isn’t "salem did all this as a ruse to let her hostages go" but rather that this duel with hazel is a performative means to an end. and the reason i think that is the way the fight itself, along with the duel in the lost fable and the brief altercation with the kids preceding the fight, are choreographed.

to preface this discussion, rwby's fight choreography is subordinate to characterization. (this is less true in v1, wherein centerpiece fight scenes put a greater emphasis on style and spectacle, but from v2 onward there’s been an increasing focus on using combat to develop character.) team rwby vs ace-ops is a good example of this: ruby struggles in her matchup with harriet not only because she’s a grimm-fighting specialist whose main advantage (agility) is negated by her opponent being able to match her speed, but also because her heart isn’t in it; she pauses to plead with harriet to stop and think about what she’s doing and never really recovers her footing.

so my first presupposition is that salem isn’t an exception to this principle and her fight with hazel is not meant to just be a dramatic spectacle that Looks Cool but has nothing substantive to say about the characters involved. the writing and fight choreography are reliably cogent and i trust that the same amount of thought was put into this scene. i say this because i think "empty spectacle" is the only other way to parse what happens here.

now on to the most salient piece of context: we know that salem can fight well. because, as ruby puts it, we’ve seen what she’s capable of. the lamp showed us.

in the lost fable, we see:

salem and ozma fighting together, back-to-back, as they escaped her father’s fortress together.

salem stopping a nevermore the size of a commercial plane cold, and then crumpling it up like tissue paper.

salem matching ozma, a skilled, highly-experienced warrior who at the time had the combined might of the four maidens put together at his disposal, exactly blow-for-blow in their last duel.

nevermore crunch gives us a sense of not just the force but also the sheer precision of control that salem has over her magical power. the first fight tells us that even with no formal training, salem had the raw talent (and desperation) to keep up with ozma and hold her own against professional soldiers; the second fight tells us that by the time the ozlem kingdom fell, salem and ozma were equally matched in terms of skill.

the fanon idea that salem can't fight but won their duel by virtue of her invulnerability—whittling ozma down one lucky hit at a time—is a) contradicted by the swift and even back-and-forth volleys shown, and b) plainly at odds with the fanon nonsense that ozma spent most of the duel desperately and futilely on the defensive fighting to shield the girls from her onslaught.

from the tableaux in the second fight, it's hard to determine whether salem bothers with self-defense under normal circumstances (she doesn't, in the tableaux, but nor does ozma). but that in itself isn't a reason to presume a lack of skill in combat because salem has no incentive—other than pain avoidance, which given her extreme tolerance for pain isn't much—to fight defensively.

with all this in mind: we begin with her altercation with the kids.

salem enters the scene by exploding her way out of the whale. notice the kids knocked over like bowling pins on the left: oscar was standing approx. fifty-three feet away from the epicenter of the blast, measured based on salem being six feet tall. (<- with perspective taken into account. from wall to edge, the dock is 48ft wide)

emerald keeps her feet, perhaps because she knows better what to brace for; she's about the same distance away. in any case, salem's next move is to launch herself to the edge of the dock (again, a distance of 48ft—measured based on a different screenshot) and stretch to grab emerald in a fraction of a second.

ok. the women's world record 60m sprint is 6.92 seconds; this works out, rounded, to about 28.4ft/s. at that speed, you can cover forty-eight feet in about 1.7s; salem closes the distance in about half a second, which works out to 96ft/s. from a dead stop.

salem is could-probably-keep-up-with-ruby-rose fast.

next point. these two frames:

are a split second apart. the blast is aimed at ren and when jaune leaps in front of him, hits his shield right in the middle:

had jaune not gotten there in time, this would've hit ren squarely in the chest. in any case it hits with enough force to blast both boys off their feet and slams them into the flesh wall (roughly, eyeballing it based on several shots) 20-30 feet behind them hard enough to visibly strain jaune's aura. keep this timing in your mind for later. salem can fire these things off literally faster than you can blink.

the distance between her and ren at this point is approx. forty-five feet, again using the wide shot from earlier to measure. precise accuracy isn't impressive at this range necessarily but it's worth noting in relation to ren, who fires on her from the same distance, kneeling, with his fully automatics. every bullet goes wide:

& then salem whips around and noscopes him.

similarly, she sticky-hands yang in the face (catching her gauntlets only because yang throws up her arms to shield herself) while upside down with her eyes closed and paste for bones. she's a GOOD shot.

another detail to note here is the difference in salem's reaction to ren's attack versus yang's; ren fires on her, misses, she retaliates with her magical equivalent to his guns, but when yang punches bombs into her chest a second later, salem literally just stands there, even lowering her arm to let yang do it...

...and then after being blown up, rather than firing back with magic, snags yang and pulls her over to look intently at her:

we know that the reason salem grabbed emerald is with the intent to question her about what happened to the lamp, because salem concludes from the available facts that em must have stolen it. we also know that when ren shot at her, salem returned fire immediately, within a fraction of a second—this woman is inhumanly fast, and the time between these two frames:

is exactly equal to the time between these two:

what this tells is that salem did have time to blast yang in the gut with magic. through the whole sequence with yang punching her, salem is looking at yang's face, her gaze tracks down to follow her movement. she sees this coming and she's reacting to it, just making a deliberate choice not to retaliate.

and then she grabs yang.

this is the first weird thing salem does in this scene—every move she makes prior unambiguously follows from salem's belief that emerald stole the lamp and her desire to recapture oscar and take the relic back—and i don't think it's a coincidental that the weirdness begins with salem noticing yang...

...whom she saw like, two days ago rushing forward to comfort ruby after salem your mother-ed her to the ground. i've made this point before but prior to her arrival in atlas salem might at most have seen toddler pictures of these kids; ruby takes after her mother enough to be impossible to mistake for anyone but summer's daughter, but yang isn't even biologically related to summer. so salem wouldn't know her on sight. but this interaction a couple days ago would've given her enough circumstantial context to at least guess that this girl is summer's eldest.

so here, when salem sees yang and instantly flips from slinging bolts of magic around with enough force to break or at least visibly strain jaune's aura to sticky-handing yang to drag her over and grab her, the question is okay, why? why does that shift happen? what is it about this moment that alters salem's motivation? and because the situation hasn't changed whatsoever and there's no other reason for yang to have any significance to salem, the simplest and really only cogent explanation is her relation to summer rose.

onwards. salem isn't expecting oscar to zap her. you can tell because every time salem takes a hit on purpose in this scene, she either tracks her opponent's movements or visibly braces herself and neither of those things happens in the split second between oscar starting to fire and his blast hitting her; and also, she grunts in pain both when it hits her and when she doubles over afterward. given that oscar shouts at her first (so he has her attention) and what oscar and ozma say when they discuss the state of the merge in 7.13 and earlier in 8.9, i think it's pretty likely that salem didn't realize oscar could tap into ozma's magic and thus he caught her off guard.

also i'm not sure oscar realized he could do that until he did it. look at this boy. he's so busy going "wait what?" at himself that he doesn't even notice salem yeeting yang at him until a split second before yang hits him ->

that, or oscar's use of magic jostled oz to the front and neither of them were expecting that to happen.

at this point salem stops fucking around and pins everyone to the floor. and again this is something i want to emphasize because it is effortless for her. when she does this to hazel in 6.4 she makes a gesture with her hands, but here she just decides it's going to happen and it does. (which tells us that the gesturing in 6.4 is for show, just like flipping the table and raising her voice. she's exaggerating her irritation into this over-the-top anger for the sake of intimidating everyone else in the room. it's performative.)

anyway, she hangs emerald on the wall, conjures a ball of magic, and:

SALEM: What did you do with the lamp? EMERALD: ...N-nothing! [Salem leans in to hold the magic close to her face.] SALEM: It's missing. Where is it? EMERALD: I didn't do anything with it! SALEM: Where—[she lowers her hand, turning away]–is it?

ok. salem can tell when people lie. she's also grimm—she can probably sense or perceive emotion the way all other grimm do.

emerald isn't lying to her and salem knows she's telling the truth. the pseudo-repetition of the questions obfuscates this a little, because they're almost but not quite the same, but salem believes both of the truthful answers emerald gives her.

her initial assumption is that emerald stole the lamp and must have done something to hide it ("what did you do with it?"). emerald is startled, confused, and answers "nothing." salem explains why she's asking ("it's missing") and then asks if emerald knows where it is or who took it ("where is it?") because her next guess is that emerald conspired with somebody else who stole the lamp while emerald snuck oscar out.

when the lamp went missing, there were eight people on the whale: salem herself, hazel, emerald, neopolitan, oscar, yang, and these other two children whose names salem probably doesn't know. right before the seers sounded the alarm about intruders, salem encountered emerald and someone she thought was hazel in the corridor. at that point in time, salem expected hazel to still be interrogating oscar, as she's mildly surprised to see him: "ah, hazel. have you gotten what we need yet?"—and 'hazel' behaved oddly enough that salem was side-eyeing him before the alarm distracted her. her reaction to emerald a few minutes later ("you really have been honing that semblance of yours") confirms that she's figured out that 'hazel' was really oscar.

hazel assumes there is an alarm that will go off if they move the lamp, but he's wrong: neo swipes it seconds after they leave the chamber, and salem doesn't know anything is wrong until a) the seers alert her to the presence of intruders, several minutes layer, and b) she goes to personally secure the lamp and finds it already missing.

so salem does not know exactly when the lamp was taken, only that it happened before the seers sounded the alarm. that her suspicion falls first on emerald suggests that salem has—for whatever reason—already considered and ruled out the possibility that the intruders are the thieves (most likely, because the seer alarm calls convey more information than just "stranger danger!" and salem knows the intruders didn't get that far into the whale before being caught). plus by the time she's questioning emerald, salem has a) terrified emerald well past being able to maintain her semblance, which requires active focus, and b) visually confirmed that none of the intruders nor oscar are carrying the lamp with them.

ruling out emerald as the thief therefore leaves her with just two suspects: neopolitan, or hazel. now, salem does not have any reason to trust another of cinder's little pet illusionists, so on the face of it neo might seem to be the obvious suspect.

BUT.

salem expected hazel to be in oscar's cell at the time she unwittingly caught emerald in the act of helping oscar escape. and she knows that hazel is attached to emerald—that's why she punishes him for lying to her in 6.4 by forcing emerald to answer the question hazel tried to dodge, she knows hazel lied to protect emerald.

and emerald could not have freed oscar from his cell without hazel knowing about it.

based on the facts of the situation as salem understands them at the point when she turns away from emerald to ask, rhetorically, where the lamp is, there are only two possible explanations:

hazel stole the lamp while emerald helped oscar escape.

neo stole the lamp while emerald tried to sneak oscar out, either with hazel's assistance or while hazel was somewhere other than where salem expected him to be, doing something he shouldn't.

there is no way—no way—that salem does not realize, at this juncture, that hazel has most likely betrayed her. this woman is a clever strategist who has been running circles around ozpin and his inner circle since the show began and, while she lacks the charisma and social dexterity to be a truly masterful manipulator, she understands human nature and her manipulative tactics are always very shrewd. unless you're willing to assume that the writers just idiot balled her for the sake of the plot—which i'm not; rwby is too well-written—salem's assumption now is that hazel stole the lamp.

(which, she's wrong, but the underlying reasoning in how she handles the situation on the docks up to this point is an application of occam's razor; she begins with the simplest explanation and works upward in complexity from there, so she'd land on hazel stealing the lamp before she got to "neo stole the lamp, emerald freed oscar, hazel was doing something else.")

the shift in her tone as she turns away from emerald and the things she then says to oscar evince this also: her second "where is it?" is rhetorical. she knows that either hazel or neo has it, and hazel is the more likely suspect. since neither of them are here at the moment, but neither of them can leave the whale except through the dock, the question is no longer urgent. she has the situation fully under control. all she needs to do is wait.

so her attention shifts to oscar or ozma. (whether oz is fronting or salem thinks he’s fronting because oscar used ozma's magic is somewhat unclear, but given that she correctly identifies them in both 8.4 and 8.6 i'm inclined to think she’s right this time too, and oz got pulled forward by oscar’s use of his magic)

SALEM: Look how you've diminished. How you've lessened yourself—and for what? These children? This ruined world...? Why—do—you—keep—coming—back? YANG: Why do you?! [Salem glances at her, startled.] YANG: All of this endless death, just because something bad happened to you once upon a time? Nobody gets a fairytale ending! Everything I've lost—every person I've lost!—is because of you! SALEM: And who is it I've taken from you, girl? YANG: Summer Rose. My mom. SALEM: Hm. [amused] Her again?

as i said, salem already has reasonable confidence that this girl is summer rose's eldest daughter, but if she had any doubt or uncertainty prior she now knows for sure. "and who is it i've taken from you, girl?" is salem both engaging with what yang said to her and also fishing for a confirmation that she is who salem thinks she is, which yang obligingly gives to her.

so at this juncture salem now has three goals:

don't severely hurt or kill summer's daughter.

determine who stole the lamp and get it back.

recapture oz/oscar.

with the third being a means to the end of finding out how to access the lamp. this makes #3 the lowest priority, because there are at least six people who know the "password" (ozma, oscar, ruby, yang, and their two teammates) and if salem loses oz/oscar now she can still try to capture one of the other children later.

of the first two, which is more important doesn't really matter yet, because right now they aren't in opposition. she can accomplish the first by not doing anything to harm yang and the second by staying put until the thief—either neo or hazel—tries to get past her.

of course, then hazel IMMEDIATELY shows up. he is, remember, salem's primary suspect at this point and she knows that he, at a minimum, wasn't where she thought he was when emerald snuck oscar out of his cell. even if hazel doesn't have the lamp, salem has to consider him a possible traitor until proven otherwise because there is also this unspoken question of how emerald got oscar out. either hazel was incompetent or he was an accomplice.

salem wants to know which it is.

he walks onto the docks, greets her. salem glances over at him and sees that he does not have the lamp, so either he stashed it somewhere on the whale with the intent to sneak it out later or he isn't the thief. the question of how emerald got oscar past him remains. there is a possibility that hazel wasn't involved in the jailbreak or the theft—he's been in and out of that cell all day—and if salem makes this accusation and she's wrong, she risks losing his loyalty. right. like hazel is already terrified of her and she knows ozma has been feeding him bullshit all day about how she's bent on destroying the world, she walked in on that.

if she takes an aggressive posture here on the basis of an incorrect suspicion that's going to play right into ozma's hands by making her look unreasonable, untrustworthy, dangerous. even if he remains loyal in the moment, he'll have all of this in the back of his mind and he might turn against her at a more crucial juncture in the future.

salem is very risk-averse. she's not going to do that. so now she has a fourth goal: test hazel in a way that will strengthen his commitment to her if he remains loyal, or else force him to definitively prove himself a traitor.

when salem meets emerald and 'hazel' in the corridor earlier in this episode she says "ah, hazel. have you gotten what we need yet?" and then, after the seer alarm, "it seems we have guests [...] find them!"

when hazel arrives at the docks, salem says "ah, hazel. i found our guests." the intonation of "ah, hazel" is the same but exaggerated, and salem's taking "we have guests: find them" and flipping it around; "i found our guests." now, she's aware that the 'hazel' she spoke to in the corridor a few minutes ago was really oscar, so hazel doesn't have context for why this is funny. but she's making a sarcastic little joke at his expense about how she doesn't trust him now.

"ah, hazel" is how she greeted the false 'hazel' whom she did trust and told to find their "guests." she suspects that the real hazel was an accomplice to this scheme so she parodies that greeting and then makes a sardonic jab at him as if the false 'hazel' in the corridor were real and just failed so abysmally at finding the intruders that salem had to do it herself. and then she specifically draws his attention to emerald and goes "this one was helping them."

and this is the test, right.

before she asks emerald "what did you do with the lamp?" salem conjures up a ball of magic and holds it up where emerald can see. very unsubtle threat. she does the exact same thing here.

"this one was helping them," she says, magic crackling in her hand where hazel can see it. there is, again, a very unsubtle threat that she'll hurt emerald. and then she pauses for a solid three seconds, which doesn't sound like a lot but it's the similar in length to her other dramatic pauses like "find the girl that did this to cinder... and bring her to me" (~3.5s) and "before you go, inform tyrian... that i wish to have a word with him" (~2s)

in 6.4, salem asks hazel to give her a specific piece of information about cinder, and he tries to evade by saying "i take full responsibility," so she flips the table, pins him to the ground, and intimidates emerald into telling her instead, because she knows hazel is lying to shield emerald from the imaginary threat of salem's wrathful retribution.

in this scene, salem has emerald pinned to the wall and makes an implicit but extremely clear threat to hurt emerald because, she tells hazel pointedly, this one was helping the intruders sneak oscar, the boy hazel was supposed to be interrogating at the time, off the whale: SIGNIFICANT LOOK. DRAMATIC PAUSE.

this is the test. this is the test. the last time salem put hazel into a situation where he anticipated a punishment falling on emerald's head, he lied to try to redirect that punishment onto himself. if he tries to do the same thing now, he's either going to implicate himself as an accomplice, attack her, or exonerate himself by lying (because salem will know that he's lying if he falsely claims to have been in on it a la "i take full responsibility").

she's not making any accusations but she is giving him the chance to come clean. the last time this happened and he lied to her, she bullied emerald to punish him. the implicit promise she's making this time is that if he was also "helping them" and he tells her the truth now, she won't hurt emerald. if he gives her what she wants, she'll reward him with what he wants.

as. usual. she does not communicate this clearly enough for it to be effective (⭐️ SHE TRIED) and hazel doesn't give her anything to work with, just stands there silently, so... she escalates. "take the boy back to his chamber; i have work to do with this one."

if hazel's silence is because he's upset but still remains loyal, he'll obey and she'll know that she has a much firmer hold on him than she thought. if... he was involved, then his silence is because he's trying to figure out a way to salvage this situation. she still does not have absolute certainty. so she provokes him by raising the stakes and turning her back on him.

um, another noteworthy detail that i think supports reading "i have work to do with this one" as a performative threat salem's making to force hazel to make his loyalties clear:

salem touches emerald's face with this very ominous-looking magic crackling around her hands and nothing happens. the specific threat she's been making in this scene of "answer me or i'll burn your face with this nasty dark magic" is quite literally bluffing. it doesn't hurt emerald upon contact with her skin. emerald just experiences the untold horrors of salem grabbing her face.

HOWEVER. escalating in this manner a) takes the risk of hazel choosing to betray her for emerald’s sake right now even if he wasn’t an accomplice before, and b) insures that if hazel is already a traitor, there will be a violent altercation.

the former is a much less dangerous risk than alienating hazel if he's truly loyal by making open accusations (an immediate betrayal that she provoked and is prepared to handle vs a possible betrayal an unknown amount of time in the future which might catch her with her guard down). the latter is a problem, because there are children glued to the floor who will be in the crossfires of any fight, and one of those children is her general's eldest.

and this is where that second goal of "don't severely harm or kill summer's daughter" comes into play and comes into conflict with salem's need to recapture oscar & oz and recover the stolen relic. it's at this point salem has to make a decision about what to prioritize, and her choice is to—if hazel does what she expects him to do and attacks her—let the children go while she "fights" hazel, then pry information out of hazel once they're gone. so she reveals that her priorities are:

summer's daughter.

the lamp.

hazel's loyalty.

the lamp's "password."

also notice that salem does keep her implicit promise not to harm emerald if hazel gives her what she wants—she releases emerald, too, after hazel punches her. she's thinking ahead to what she'll do once the children are gone and she has hazel alone on the docks. by letting emerald and the rest of the children escape, she removes his motivation for betraying her: he no longer has anyone around whom he could possibly sacrifice himself to protect from salem, because all of them have made it to safety. now salem can pin him to the wall and start asking questions.

either hazel took the lamp and stashed it somewhere on the whale once he realized she'd caught the children, or neopolitan stole it and—if she's still aboard—will need to pass the docks sooner or later. so salem stays put, with hazel, until she has the lamp in hand again or knows where hazel hid it. summer's daughter is safe, hazel has no one to sacrifice himself for (and she has some leverage to counter ozma's lies; letting the children go is her proof that she isn't unreasonable), and salem has everything she needs to get the lamp back. she might have to capture someone again in the future to extract the lamp's password, but there's a chance hazel learnt it from oscar before the jailbreak and theft.

worst case scenario, neo stole it and escaped before salem intercepted the jailbreak on the docks, but at least by questioning hazel she'll be able to determine whether that's the case.

a partial victory is preferable to a loss, and knowing what to sacrifice in pursuit of one's priorities is important. this is salem's basic strategic philosophy and it shows through in her actions throughout this scene; she's making choices about what matters to her most and what she can afford to let go, always with the intent to achieve as many of her goals as possible, in descending order of importance.

with salem it's important to keep in mind that she thinks like this. strategic acumen is her greatest strength and being able to evaluate all of one's objectives in terms of priority, feasibility, and tactical means at once is a critical strategic skill. strategy is about the long term, big picture thinking, where salem excels. so she almost never does anything for just one reason; every decision she makes is a balancing act taking into account all of her important short- and long-term goals.

speaking of which, i've so far limited this discussion to her immediate objectives in this scene, but it's worth remembering that salem has long-term plans that she is working toward and her actions and choices in any given scene are mediated by the big picture; her inner conflict regarding cinder aside, salem is never going to do anything that achieves a short-term goal by harming her strategic ends (and her erratic behavior toward cinder arises from a conflict between her strategic ends and her increasing reluctance to treat cinder like a pawn, i.e. her big-picture wants and needs can no longer be easily reconciled.)

it's much harder to discern salem's long-term objectives because we don't really know what her plan is, except in the broadest strokes. but we can hazard a few guesses:

salem is very circumspect about what happened to summer rose; it may be necessary for her plans to preserve the heroically-martyred idea of summer rose—the most obvious reason would be that "summer was the best, and even she failed" is a very exploitable weakness in her opponents' morale.

if salem intends to confront the brothers face-to-face, using the final judgment as bait, and she fails, the only thing she can do that might prevent the gods from annihilating remnant is ensuring that everyone is rallied against her. forcing the truth of her existence into the open while performing to "monstrous evil witch bent on destruction of all things" expectations is the surest way to do that.

likewise, winnowing her own inner circle such that she is truly and completely alone by the time she has all four relics in hand may be part of the plan.

also worth taking into consideration are the ways salem's trauma circumscribes her decision-making. she is:

terrified of rejection.

terrified to care or admit to caring because the divine mandate is a justification and a threat of genocide strictly to punish her, and she knows it.

convinced that no one will ever truly care about her, hear her, or want to help her without getting something in return.

resigned to being seen as a monster no matter what she does, solely on the basis of her inhuman appearance.

all of these things predispose her to retreat behind her emotional walls and just reflect the expectations of others back to them. she's been viciously, brutally punished every single time she's tried to be authentic and vulnerable with others and it hurts less to shut down and be what she's "supposed" to be than to try and be cut down over and over again. this is a defensive learned response and it informs both her strategic planning and her tactical decisions; even in situations where breaking expectations and being emotionally honest might benefit her if people were to give her a chance, she's not going to do it unless she is really, really certain that she won't be punished for trying again.

now, to wrap this up, let's go over the fight with hazel.

i actually debate with myself a lot as to whether salem did or didn't anticipate hazel punching her, because she a) doesn't brace and b) cries out when his fist makes contact with her face, but i am certain that by this juncture salem did expect and was counting on him to do SOMETHING to stop her. the sequence of events is this:

salem approaches emerald while telling hazel, "take the boy back to his chamber; i have work to do with this one." after a brief pause, hazel answers "yes. of course," and begins to walk over to oscar. at this point, salem puts both of her hands on emerald's face and leans in to emphasize the threat, but still doesn't hurt her.

keep in mind that there is a significant distance between salem and oscar. relative to her position when she entered the scene, salem has moved (roughly, eyeballing) about thirty feet to the left and knocked oscar about the same distance from where he fell when she burst through the side of the whale. so they're still about fifty feet apart.

an able-bodied human walks about 4.2ft/s at a normal pace on average; hazel is quite tall—i believe word of god is eight feet, but he is NOT two feet taller than salem, the top of her head is level with his shoulder line, which if salem is six feet tall exactly would make him about 7'2"—which gives him a much longer than average stride, so we'll presume his normal walking pace is about 4.5ft/s.

when salem walks from emerald over to oscar, it takes her about twelve seconds. if we assume that her pace is the average 4.2ft/s, that would make this distance just about exactly fifty feet. 50ft 5in, to be precise. the consistency here between the visible spatial distance and the temporal distance suggests close attention to detail on the part of the creative team.

(salem returns from oscar to emerald, off screen, in about two seconds, but this is not problematic given her super-fast gliding pace—we can assume that salem slingshot herself across most of the distance and then walked the last couple steps.)

so at a normal pace of 4.5ft/s, it should take hazel about eleven seconds to walk from salem's side to where oscar is... and in fact it takes him exactly that: he begins to walk at 14:35 and stops in front of oscar at 14:46. again, the consistency is telling—particularly because there is no dialogue at all in this span, so how long it took wasn't dictated by the length of a spoken line.

hazel picks oscar up, murmurs "no more gretchens, boy," into his ear, pushes the long memory into his hands, and then drops him again. this takes another ten seconds. hazel turns away from oscar and begins to walk back toward salem at 14:56, punching her at 15:04, so his return is faster but within the range of a brisk walking pace (eight seconds, fifty feet, approx. 6.3ft/s).

the reason i'm belaboring this point is that salem says "i have work to do with this one," and then... stands there without doing anything except holding emerald's face menacingly for a genuinely awkward amount of time. thirty-one seconds, counting the beat before hazel began to move. it's not even clear that salem said anything to emerald—when hazel turns away from oscar and the camera cuts back to emerald and salem, em blurts out "i really don't know!" but whether this is in response to another question salem asked off-screen or just responding to what she assumes salem wants from her is ambiguous.

compare the way salem questioned emerald earlier in this scene: she asked two questions, one after the other, confirming that emerald didn't take or hide the lamp and doesn't know where it is. as soon as it became clear to her that she wouldn't get useful information from emerald—because em truly did not know anything—salem dropped it and moved on to Plan B. she doesn't LIKE emerald and she's ANGRY that em tricked her and helped oscar escape, but what salem CARES about is finding out what happened to the lamp. she's not going to waste her time trying to get blood from a stone.

and compare the way salem conducts herself when she interrogates oscar in 8.4. again, her questioning is guided by practicality, but the more salient point of comparison for this discussion is what salem does when she shifts gears to punishment and torture. namely, she just tortures him. no hesitating, no warnings, no threats, no grandstanding, she just turns around and does it. practical, again.

if what salem intended to do at this point in the scene was torture emerald, either to punish her or for information, she would do so.

instead, salem just...clutches emerald's face. evilly.

for thirty-one seconds.

now, i will remind you that salem has excellent spatial awareness; she sticky-hands yang from at least ten or fifteen feet away while upside-down with her eyes closed. hazel's footsteps are clearly audible. when hazel enters, salem hears him speak and answers him across this fifty-foot span. oscar cries out when hazel picks him up and grunts in pain when hazel drops him, which also makes a quite loud thud. hazel's footsteps would also be audible to her when he returned, although they aren't to the audience.

so she'd be able to sense hazel approaching her again, and if she paid attention—which she must have, because salem's just spent half a minute doing the bare minimum to sell that she's toootally going to start torturing emerald, any second now, and the only reason for her to do that is if this is about intimidating or provoking hazel—then she would have at least heard him dropping oscar, so she knows he isn't "taking the boy back to his chamber" as ordered.

ok.

when the focus shifts back to them, salem's got emerald like this:

this shot is at 15:01.167. hazel will punch her at 15:04 exactly, which at his brisk pace of 6.3ft/s means he's about eighteen feet away. around 15:02.750, when hazel is less than eight feet away from her, salem begins to pull back, lifting her arm as if preparing to strike:

she holds this pose without moving for almost a whole second. remember just how fast salem can be. her release when she fires back at ren, from the moment she begins her 180° spin to the moment the opalescent bolt leaves her hand, is sixteen frames. from the appearance of the black/violet magic bubbles to the release of the opalescent bolt is one frame. ONE.

when she reaches this position, hazel is quite literally right next to her. he cannot be more than three or four feet away, and we can see in both the initial shot and the replay from the opposite angle that he comes at salem directly from the side, not from behind her.

the point is that salem can see him. unless you have vision problems impacting your peripheral sight, even if you're looking straight ahead, as salem is here, you can visually detect motion directly to the left or right within a close radius. and indeed:

salem's gaze flicks to the side before his fist makes contact, and the wider shot from behind shows just how close he is to her before throwing the punch.

and the last detail i want to note regarding the punch is that salem lets go of emerald when hazel hits her, which is something that she does NOT do when yang blows her up:

if salem can remain standing and keep her death grip on this girl's arm while her ENTIRE TORSO IS EXPLODED WITH BOMBS, it... does not matter how strong hazel is or to what degree salem may have been caught off-guard. she had at least a split second recognition before his fist hit her face; that alone is enough to reflexively clamp down on emerald's jaw if she didn't want to let go.

so whether or not salem anticipated that hazel would punch her in the face specifically—and it doesn't seem like she did, given that she yelps—she must have had at least a vague awareness of his presence/approach (because he marched right up to her), and she made the choice to just ragdoll with the hit. the simplest explanation is that once she heard him drop oscar and start power-walking back toward her, salem knew he was going to try something to save emerald and committed to the bit.

she also isn't actually ragdolling; she lets the force of hazel's punch throw her off her feet, but then instead of falling she soars away in this high arc, flips herself around in midair, drops down in a perfectly-controlled landing at the far end of the dock, and rises again:

ok? ok. this sequence, from the end of the slo-mo reaction shot to when salem reaches altitude, runs 15:08 to 15:11—three seconds.

and then she just, erm...hangs out there, not doing anything, until hazel finishes cramming dust into his body and turning his back on salem to give his heartfelt last goodbye to emerald and everything, and faces salem again at 15:41. at which point she says "so, you've decided against vengeance for your sister, after all this time?"

thirty. seconds.

during which the ONLY ACTION salem takes is this... this:

<- make a particular note of how jaune reacts. the tactics guy. while the other kids gasp in shock/relief, jaune is like "wait what?" as he pushes himself up to look at salem—he's confused, because he knows intuitively that Something Weird just happened.

why did she do that?

she didn't need to. it wasn't an accident. salem manifested these sigils with a mere thought, and later in this same scene we'll see her do that again right after hazel smashes her head like an egg. summoning these things also clearly doesn't inhibit any of her other powers, so this is effortless for her and costs her nothing to maintain.

either happened by narrative fiat, because the kids had to escape and the writers just couldn't be bothered to figure out how. the... problem with this explanation, aside from the obvious that rwby is a well-written story that doesn't pull this sort of bullshit, is that the prelude to the big fight makes a HUGE POINT of,

this! oscar is already free and has long memory. if the intention is for the kids to escape while hazel keeps salem distracted, you don't need a narrative contrivance like this; you just slip in a shot or two of oscar snapping these grimm hands or disarming the sigils with his own magic to release his friends instead.

orrr... salem let them go on purpose.

¯\_(ツ)_/¯

wheeze. ok. we're almost done.

remember how salem can go from empty fist to black magic bubble to releasing an opalescent blast in just three frames?

this first shot is at 15:49. the second is at 15:51. in between, salem just kind of sways side-to-side and then waves her arms around for forty-five frames. even if we count only from her conjuring of the Big Bubble at 15:50, it's twenty-two frames—longer than it took her to snap around and fire off a blast that hit her target dead-on and slammed two teenage boys into a wall some 20-30 feet back.

woman's telegraphing harder than a dark souls boss here.

and speaking of aiming...

these are the three bolts salem fires in the wide shot. top row on the left is her first shot in the instant before hazel begins to run up the slope—i've marked the trajectory and the eventual point of impact in green to make it easier to see that this would not have hit him even if he hadn't moved. top row on the right is the real impact, with hazel now running. on the bottom row are her next two shots. one strikes the edge of the dock nowhere even close to him, the other hits the ground about 8-9 feet in front of him (measuring based on hazel being 7'2" tall). and in the next shot:

it's not that she never hits him. hazel is quite a bit farther away from her than ren was and he's also running at a dead sprint while dodging blasts. tricky target. it wouldn't be strange at all if she missed.

but look at where she is aiming.

top row: both bolts strike the ground 1-2ft directly ahead of him—in the shot on the left, he's veering closer to the wall to avoid stepping on the point of impact. bottom left: this is a second bolt aimed just a little bit forward and 1-2ft out from the wall relative to the top right; these two bolts strike eight frames apart and hazel lunges sideways toward the dock's edge as the second one comes into frame, so when salem fired the second one, hazel was still where he is in the top right. and (the clincher) bottom right: this bolt strikes six frames after the one preceding, 1-2ft directly in front of him, and hazel swerves toward the wall to avoid stepping on the point of impact; notice the correction from #3 to #4 when hazel swerved more toward the ledge than salem anticipated.

not a single one of these bolts is actually aimed at hazel. salem is aiming to hit the ground directly in front of hazel, close enough to convince him that she means to hit him but also low enough that if she misjudges his speed she's going to strike his ankles... and when one blast nearly hits him in the head or chest because he jumped further sideways than salem guessed he would, she instantly corrects her aim to ankle-height again.

she is herding him.

up the docks, closer to her, away from the children, all while taking care NOT to hit him without being obvious about it.

this is the same kind of behavior we see from her in 6.4, where she's at worst a little vexed but flips a table and shouts and throws him to the ground as if she's in a terrible fury—and then a minute later hazel tells her something that genuinely infuriates her and we see her freeze while the windows start to crack, before she sends them all out of the room and struggles to press this rage back down.

because there is a huge difference between the loud, explosive "anger" salem performs to intimidate her associates and her real anger, which she tries very hard to contain.

in a similar vein, we get this fleeting glimpse of salem's actual skill in combat when she spins around and blasts the boys into a wall in the time it takes to blink... and then she sees yang, and the key changes. instantly. for the rest of the scene.

onward. hazel vaults over salem's final bolt and launches three fireballs at her. as these spiral up toward her, salem threads herself between them like they're not even there—it's really fast, the whole sequence from when the fireballs form in front of his fist to when she slings past the third one is forty frames and if you count from when the first fireball enters the frame, her evasive maneuver is over within twelve frames. as she continues past the last fireball, salem swings her arms to finish her movement, as if she's going to lash forward and fire off a riposte:

but then instead, she re-centers, pauses, and does... this:

which i'm sure looks very impressive and terrifying for everyone on the ground, but she is... literally just tossing magic around in random directions. this is not an attack. this is a light show. a firework. her big swarm of magic bubbles spits out of of the opalescent bolts and only one hits anywhere close to hazel. she is just fucking around.

from here, hazel sprints to the edge of the dock and launches himself into the air above her, where he dust-conjures a biiiiig spiky boulder to smash her with... and, uh. three things. first:

this shot occurs in slo-mo to really underscore what happens here. note that salem is looking up at him and has a firing bubble ready to go. hazel is approx. twenty-eight feet directly in front of her (measured in salems); a few minutes ago we've seen her be dead accurate at just a bit more than half again that distance, and we know a blast from her has plenty enough force to knock hazel out of the sky. from the beginning to end of this shot her head moves as she tracks his motion.

she has a clear shot lined up here. she chooses not to take it. then:

hazel conjures The Boulder, and we get this shot of salem's reaction—from waiting indifferently to see what he'll do to wry amusement. and then she physically braces herself to take the hit:

after which point salem just Lies There letting him pummel her for a few seconds before evidently deciding that she's done enough fucking around for those children she let out of gay baby jail about sixty seconds ago to have gotten away so she'll just flick her fingers (while her skull is caved in and her brains are splashed all over the floor, mind you) to pull some more grabby hands out of the air and wrap this one up except—

—NO WHOOPS THEY'RE ALL STILL HERE. lol.

like the fight is over, when the camera cuts back to the kids. salem has hazel completely immobilized. jaune is at the other end of the docks, shouting for everyone to hurry. "she'll just come after us," oscar says, but if salem cared to recapture any of them she would've left hazel restrained and dropped down off the dock to scoop them up as they hit the ground.

she's visibly irritated after regrowing her face, yes. but we have seen over and over—there are multiple examples in this scene alone—that salem can and will set irritation aside to focus on what doing what is necessary to advance her practical goals. she's poisonous with emerald but asks her two questions and then turns away as soon as she's confirmed that emerald doesn't know anything. she takes a deep breath and shelves her fury at ozma to listen calmly while yang yells at her. salem just isn't a character ruled by her anger.

so the fact that she a) continues to focus all of her attention on hazel after restraining him, and b) actually hurls him out of the restraints, in the opposite direction from her escaping prisoners, and turns away from them to just bash hazel's face repeatedly into the floor, suggests to me that her annoyance is perhaps more because these children are STILL FUCKING HERE and she needs them to be gone before she can start to properly wring the truth out of hazel.

she pays zero attention to the children until she hears long memory activate, which seems to startle her; after that she straightens up and stares him down for about four seconds.

they're about ninety feet apart here. salem covers a just over half that distance in two seconds... meaning she is gliding at what is for her a downright leisurely 24.5ft/s. that's a little bit more than a QUARTER of her top speed which is, in case you've forgotten whilst reading this very long post, 96ft/s. or 65mph.

(and here i will remind you that the walking speed distance math earlier checks out perfectly with the measurable spatial distance between emerald and oscar. this scene was choreographed and animated with very close attention to time and distance and i think that's because the speed at which salem does certain things at different points is doing a lot of narrative work. it's seldom necessary to be this precise but in this scene it matters.)

the point is that while salem does slingshot herself at oscar pretty fast here, relative to how much faster she CAN go, salem isn't trying especially hard to Get Him. this is like a brisk jog for her.

now granted, if hazel hadn't scraped up the wherewithal to, i assume, yeet himself after salem with all the dust cooking his body from the inside out, oscar would have been toast whether salem zipped along at a normal human sprinting pace or clotheslined him at car-on-a-highway speeds. but it does speak to the intensity of salem's interest in getting oscar in this moment versus when she went for emerald at the top of the scene.

salem had, by this point, already given up recapturing oz/oscar as a loss, accepted sacrificing the opportunity to do that as a price she was willing to pay for the sake of 1. getting summer's daughter safely off the whale and 2. after clarifying hazel's loyalties, removing the children from the equation so she can squeeze him for information about what happened to the lamp. i think the possibility that oz/oscar might have shared the "password" with hazel when hazel decided to help them escape would've at least crossed her mind as soon as she narrowed her list of suspects down to hazel and neo, too.

there's also the factor that with hazel now compromised, the only person around to interrogate oz/oscar is salem herself, and because that would involve being in the same room with and talking to ozma for an indeterminate amount of time, i don't think salem's all that keen anymore.

thennnn hazel sets her on fire and she screams and thrashes because she's having traumatic flashbacks to the moonfall and then oz blows her and her whale the fuck up.

thank you for coming to my tedtalk.

#TOO LONG DIDN'T READ:#she's balancing between two main goals #(get yang off the whale & determine #who took the lamp and where it is)#both of which can be advanced at once by #manipulating hazel in this specific way #for reasons that i discuss at extravagant length because 8.9 lives rent free in my head

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solomonssock · 2 years

Text

To Capture A Demon's Heart

Mammon lovers I bestow upon you my apology fic. Please, rise up and come get your boy.

I fell for him a bit more writing this frfr

Pairing: gn!reader x Mammon (romantic feelings heavily implied, no established relationship, but don't you worry - you're working on that)

TW: Mention of Lucifer's punishments, Uhuhuh awkward discussion of infernal courting behaviors, mentions of violence, lmk if there''s anything else to add, ty!

Word Count: ~5,000

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

On the rug before you lay two options: “The Wicked Woes of Demonessa” or “To Capture a Beating Heart”.

You flip over both DVD cases to skim their synopses, fingers trailing over the printed leads in all their infernal glory. You snort to yourself at the crossroads Asmodeus has supplied you with and wonder which would be better: an all-demon romance or a demon-human romance?

Ah-actually, the question should be: which would be easier to convince Mammon to watch with you?

The answer, as always, is neither. But that won't stop you from trying.

You shake your head, a smile pulling at your lips at the thought of how he'll react to your movie selection tonight. He's late, but with good reason, so you'll forgive him. Punishment by Lucifer is punishment enough.

You kneel up from your position on the floor, rubbing out the pins and needles that had started to form. When all feeling returns to you, you reach under your bed to drag out the thick faux fur blanket Mammon had gifted you for your birthday this year. Custom-made, a pattern of your favorite hideously-cute zombie iguana plushies are plastered across the golden spread. You push your face into the fabric, its velvety softness tickling your skin, and inhale. It smells of the same smoky cedarwood that sticks to his skin.

You toss it onto your bed and climb up after. One-by-one you adjust your pillows so that they rest upright against the mossy wall and face the TV. You take care to put more support on your side, anticipating he'll eventually stop resisting and cuddle up to you as he often does. When you're finally satisfied with the distribution, you hop off the bed to snatch your wallet from the table nearby. You dig inside until your finger bumps into what you're looking for; a golden grimm coin.

Both titles are appealing enough that you're impartial to either, so you'll just do a coin toss. You're more interested in the cute expressions Mammon will show you tonight anyway.

You flip the coin off your thumb, catch it in your palm, and lay it flat on the back of your hand. You lift your palm and grin - it's head. “The Wicked Woes of Demonessa” it is.

A knock sounds at your door.

"Hey, Human, It's me. Open the door!" You hum to yourself, bending down to pick up just one of the DVDs. You stash both your wallet and “To Capture a Beating Heart” into your backpack and plop it into the chair farthest from the bed. You look over your room one more time and nod before walking over to open the door.

There waits your pouty demon, hair all mussed up with arms crossed over his broad chest.

"Some nerve you got, making me wait!" He huffs. You flash him a toothy smile, tugging him inside by his elbow and shutting the door behind him.

"Happy to see you too, Mam." A light flush rises to his cheeks.

"Y-yeah..happytoseeyatooidiot," he grumbles. "Did'ya pick out a movie yet?" His eyes skitter away from you to appraise your set-up.

Dimmed fairy lights, honey-scented candle sticks lit on golden candelabras, and the golden pendant he'd gifted you during your first year in the Devildom rests proudly over the collar of your pajama shirt. Everything is intentional. Everything is for him.

"Sure did!" You saunter over towards your bed and bend over to pick up the DVD case from off the rug. You go to open the case, but a lack of following footfalls distracts you. You look over your shoulder to find him fidgeting in the middle of your room.

You frown. "What's wrong Mam?"

"W-what's that smell?" His eyes flicker to and fro, scanning your space for the source.

"Uh, well I lit some scented candles. If they're too sweet for you I can turn them off, no problem." You toss the case onto your bed before heading for the coffin-shaped bookshelf in the back. You pick through a small black lace basket filled with spell tools you're borrowing from Solomon.

You forget sometimes how heightened their senses are compared to yours.

"You don't gotta go making a big deal out of it. A little sweetness ain't nothin' to the Great Mammon." He chuckles loud and proud, but you catch the way he clenches his fists at his side.

"It "ain't nothin'" if it bothers you, Mam." You admonish. You finally find the candle snuffer and lift it out of the basket. "Your comfort is my priority, alright?"

He sputters, eyes wide, and you shoot him a soft smile as you move over to the first candelabra. "Really, it's no trouble."

Before you can snuff out the first candle stick, a firm hand wraps around your wrist. "Nah, s'fine. I..I like it." Your heart does a little flip at the admission, but as you glance down at the back of his hand you frown.

"Aw, what happened here?" Your free hand traces the indentations pressed into his skin. They aren't too deep, but they seem a little aggravated.

"Tsch," he releases you to shove both his hands into his jacket pockets. A slight crinkle catches your attention as they settle into the tight space, but you'll worry about that later.

"Hey, none of that. No hiding." You place the snuffer onto the table and turn to him. You hold out your hands, palms up, and wait. Mammon can only shuffle his feet and avoid your eyes for so long.

"He's getting all creative now! Damn sadist."

You purse your lips and sigh out of your nose. Lucifer only had his brother's best interests in mind, but his methods could be awfully draconian at the worst of times. You'd seen in the group chat this morning that Mammon had tried to sell photos he sneaked out of Diavolo's private chambers. You haven't a clue of how he got past Barbatos of all beings, but you don't put it past him, he certainly is one of the most driven individuals you'd ever met. Undoubtedly, Mammon tested his luck and crossed several boundaries, but your heart aches for him. He's always hated sharing the weakest parts of himself.

"We don't have to talk about it. Will you just let me help you out a bit?" You bat your eyelashes when he finally meets your gaze. He scoffs and shrugs his shoulders.

"Can't keep your hands off me, can ya?" You quirk a brow at him, a knowing look on your face. You start to lower your hands slowly, purposefully.

"That's alright, Mam. I wouldn't want to force you." Before your hands can drop to your side, he clutches them in his own.

"Who said anything about force?! See," his hands squeeze your own, "all good to go." You drag your thumbs over the knuckles encasing your own.

"Go ahead and sit down, I'll join you in a sec." You gesture to the bed and your heart does happy little flips when he gravitates straight to the zombie-iguana blanket.

"Ya still got tha damn thing?" The question comes out soft, too soft, that you wonder if it was for you to begin with.

"Course I do. My first man gave it to me!" You can't stop yourself from laughing at the way his shoulders shoot up to his ears.

"Y-yeah," he attempts to catch himself as you walk back over to the bookshelf and dig into another basket, "It was a hassle to get it made, so don't go lettin' anybody else mess with it."

"Don't worry," you tease from the other side of the room. You can't resist the opportunity to rile up his greed, "I only take it out for our movie nights."

Sparing his dignity, you don't look up from the basket as you hear him choke a bit. When he calms down you grab the lotion-salve you'd made about a week ago, good for healing any minor wounds. Smelling of bergamot with hints of lavender, it's your proudest achievement thus far.

"Actually, speaking of our movie nights...," you stand and make your way over to the bed. Already, he's shoved off his jacket and shoes, making himself at home among the pillows. As your eyes scan his toned arms you're reminded that you quite literally have a model in your bed.

"This is the first one we've had in a while, huh?" He spreads his legs as you come closer, signaling for you to sit in between them. As you join him, his eyes soften and he holds out his hands for you to take. You're humbled by the trust he places in you.

You squirt some lotion into your hand and rub your palms together to warm it up before you reach for him. He sniffs the air and sits up a bit.

"The hells that?"

You cock your head. Does he really not like the smell this time?

"You mean the lotion?"

"Yeah! Did Asmo give you that? I don't want that flowery shit." Ah, the real issue isn't the lotion itself . Rather, that another demon may have given it to you. Despite the laugh begging to spill forth from your lips, you manage to cool your expression.

You slowly massage the cream into your skin, biting your lip at the low warning growl that leaves him. You just had to be sure. "No, Mam. Asmodeus didn't give this one to me. I made it myself." His posture relaxes considerably.

That is, until you open your mouth again.

"But, if you don't like the smell I can go give it to him. He'd probably like it, right? I can go real qu-" You don't get to finish your sentence as his hand grasps the front of your shirt, tugging you forward until you're trapped in his arms.

"Ya ain't goin nowhere." Goosebumps prick at your skin in response to this growl. It's not a warning. It's daring you to try your luck. You move quickly to return his embrace, smoothing your hands over his backside to reassure him. "You're stayin' here with me, understand?" Warmth flows through you from head to toe.

"So, you don't find the scent completely and utterly repulsive?" Your hands trail upwards to massage his shoulders, pushing and prodding the tense muscles. He flinches, but doesn't stop you.

"Ah, hold on!" Something clicks as he snaps back from you, holding you back by your shoulders. "Nobody said anythin' about being repulsed! Who said they're repulsed? Not me!"

"Oh, good!" You pull his hands off your shoulders, dropping them onto your lap as you reach over for the lotion. Again, you warm it up between your hands. "Then just sit still, alright?"

He goes down quietly, too quietly, that you make sure to watch his face for any discomfort as you reach for the first hand. A touch to his skin surprises you. His hand is rougher than you expect, but you mask your curiosity and don't hesitate to place your hands atop his. The last thing you want is for him to recede into himself when you've finally gotten this far into whatever is happening between the two of you. You can ask about the rough calluses on his palm another day.

You start with the lines indented over his fingers, carefully kneading the skin as he hisses under his breath. His eyes, a blend of ocean and golden sun, remain transfixed on where your skin meets. But, his face is marred by a deep frown that makes your blood run cold. Did you overstep somewhere?

"What's running through your mind?" You work your way onto his palm, tenderly rubbing the faded scars littered across the expanse of skin. The lotion can't heal something that has already come to pass. Nor can you, but you'll hold him here for as long as he'll let you.

A sigh leaves him. "Don't go treatin' me like I'm fragile. I'm supposed to protect you, got it?"

He's right, he's not fragile. Beneath the glamor he's taut, tough skin, with sharp fangs and leathery wings that could tear you to shreds. But, he's also the same demon who seeks you out for comfort after punishments or a big loss at the casino. The same demon who sits through horror movies if it means he'll have an excuse to spend the night with you. The demon who would truly do anything you asked of him - and that's not a power you wield lightly.

You pat his hand with a smile to let him know you're finished and hold out your hands for him once more. You'll let him decide if he wants to continue.

"Hey, don't you dare ignore me!" Plopping his hand into yours immediately defeats the tough tone he's put on. You start from the top and repeat the motion, fingers to palm. A rush of boldness overcomes you as you press into the callouses. You adore this demon. You wish he could see himself the way you see him.

"I know you're not fragile, Mam." You finish up the massage, but don't let go. You watch as the indentations gradually fade into even skin. "But, you're precious to me. I treasure what's precious to me. You get that, don't you?"

Your stomach drops as silence greets you. At the very least, you think, it's a good sign that he hasn't pulled his hand away from you. You drop both of your hands into your lap and fidget with his fingers.

"You mean that?" You never knew Mammon's voice could sound so meek.

You lift your eyes to his, grasping his hand tightly between your own. Wide eyes, mouth parted, and brows furrowed. Even like this, he's a vision.

"I mean it, Mam."

At once, his cheeks are aflame. "I-you!" He stammers. A laugh rips from your chest, relieved that he didn't a) run out of the room or b) hide away from you. You want to tease him more, but you hold back. Instead, you reach over to pick up the DVD from off your comforter and savor this milestone between the two of you.

"Ready for the movie?" You ask, getting up from the bed.

"Huh? Oh that, yeah, yeah." He seems a bit dazed.

"You feeling ok?" You lean over, lifting your hand to feel his forehead, but his hand catches yours before you reach him.

"I'm fine! The hell we watching anyway?" You use your free hand to show him the DVD cover. The two demonic leads stand before each other, hand in hand, leaning in for a kiss under the title.

"The Wicked Woes of Demonessa?!" He sounds exasperated. "W-where'd you get that junk?! We ain't watching that!"

"What, why not?" You pout, giving him puppy dog eyes.

"That's some mind poison! All it's good for is rottin' ya brain." He snarls, but you know you've got him. A little nudging is all he needs.

"Oh." You sigh, purposefully. "Well, if you don't want to watch it with me, I'm sure Beel or Mo wouldn't mind." "Like he-" "Or-" You counter before he can start running his mouth. "We can watch another movie I borrowed as a back-up."

Mammon eyes you suspiciously. "What other movie are ya hidin', human?"

You have to be a little evil in this back-and-forth or you'll never get anywhere. So, you shuffle over to the TV stand and grab the unopened DVD case resting next to the DVD player. You show him the cover and watch as he immediately recoils.

"ARE YA CRAZY?!" He shrieks. A myriad of ghosts with tormented expressions erupt from the house that rests above the title that reads: The Horrible Haunting of Hollow Hill Manner.

"What?" You ask like it's not the most peculiar and pointed selection to ensure you two watch your movie of choice this evening.

"What?" He mocks your casual tone. "Who're ya borrowin' that from?"

"Satan." Your smile comes easy. "He recommended this one, it's a murder mystery that takes place in a haunted house. Apparently, it's based on a true story."

"A TRUE WHAT?!" He throws the fur blanket over himself, leaving only his head submerged.

"Mammon," you snort, "you're literally one of the most powerful beings in existence. Fourth most powerful in all the Devildom."

You can't see his chest puff up, but you know him well enough to know it does.

"E-exactly!" He exclaims. "I can take on anything. Some cheap old trick movie like that won't scare me, nuh-uh, it'll just be a snoozefest."

"I see," you smirk, "then some cliche romance flick shouldn't be too bad, right? Wouldn't want you falling asleep on me." Hook, line, and sinker.

You pay Mammon's complaints no mind as you open the DVD case and pull out the disk. You pop it into the DVD player, thrilled you get to watch a classic demonic romance unfold. You've been curious for some time now about how romance in the Devildom differs from the Human Realm. The plot seemed entertaining enough, but really you were curious about the customs. You wanted to woo him on his terms, in a way he couldn't blow off as some human schtick.

You press play and pad back over to your bed. He's pouty, so you decide to sit next to him and hold out on getting under the blanket with him.You'll wait until the mood passes and give him his space.You can feel his stare digging into you as the opening soundtrack plays, but you manage to keep your focus on the screen. For a couple of minutes you two sit like this.

"Why're ya bein' like that?" He accuses.

"Like what?" You snap your head to him, eyes widening as you see him sit up, blanket falling off his shoulders and into his lap.

"Distant." He huffs, looking away from you. "Y-you said you treasure what's precious to ya, right?"

Your heart is about to fucking explode. You don't waste a minute, wrapping your arm around his and tugging at him to face you.

"You looked upset, so I wanted to give you your space." You utter, softly. "Would you be ok if I joined you under the blanket?"

He scoffs, lifting the blanket up and over you. "Like ya even hav'ta ask." Earlier in the night than you've anticipated, he cuddles into your side with his head resting on your chest. You can't read his face from this angle, but a subdued purr rumbling through him assures you he's comfortable.

You two sit like this throughout the first half of the movie. It's an interesting premise concentrated on the love between a demon of nobility and a commoner of great strength who has been hired to train the noble in the art of war. Later on, it's revealed that the commoner's unprecedented strength is due to them being an illegitimate child of a Great General of the East. The noble's father, a Recordkeeper, has hidden away documents proving the commoner's lineage at their father's request. Thus, they come to the castle under the guise of an instructor and soon find their plans disrupted when they begin to fall for the Recordkeeper's heir.

Your curiosity is piqued as displays of what you presume is affection come onto the screen. "Hey Mam, I thought they liked each other, so why are they wrestling like that right now?"

It's a more violent display than you expect, but you're entranced as their jaws snap, teeth are bared, and claws dig into skin. The leads throw each other against any surface within the weapon storehouse, stopping the other before they can plan an escape. You look down at Mammon to find him hiding his face into your shirt, the tips of his ears tinged red.

"It's a show of strength." He mumbles into your shirt.

"A show of strength...," you repeat thoughtfully, "is that common in courtship here?"

Mammon groans, hiding further into your shirt. "I don'wanna talk about this. Don't they teach ya shit like that in your Demon Studies course or somethin'?"

"Unfortunately, no. The topic has never come up." Demon Studies has solely focused on social, political, and institutional relationships within the Devildom. Nothing interpersonal as far as you can remember.

"What?! Well they should, some silly 'ol human isn't gonna just pick up on that."

"Well," you drag your fingers through his hair, "think you could enlighten me?"

He peeks up at you with a glare. "Whad'ya wanna know?" The topic seems sensitive, so you tread lightly.

"Could you tell me what a common courtship is like here? You don't have to be detailed or anything. Like, are there steps?" Most of the romance movies you've seen during your time here have been pirated by Leviathan from the human realm.

Again, Mammon hides his face from you. You are about to suggest you two move past the topic when he finally speaks up.

"Yeah. Yeah there are steps." You stay silent, but keep running your hand through his hair.

"Y'noticed how the noble started sendin' letters? Or how once they got a response from the sword swinger they started includin' trinkets or whatever with 'em?" A moment of silence passes and he peeks up at you. It hits you that he's waiting on you to respond.

You smile bashfully. "Oh, yes! Yes, I noticed."

He huffs. "It started then. Goin' all out with gifts, tryin' to impress each other like lunatics."

"Are trinkets usually given?" You ask.

"Mm," he hums, "yeah, but gifts are as varied as demons. Some prefer other things: food, poems, flowers, the heart of your greatest enemy, buncha stuff."

"Huh-" Did you hear that correctly?

"The heart of your greatest enemy?" You parrot.

"What, ya sayin' humans don't do that anymore?" You shake your head.

"None that I've met at least." You don't doubt that humans have done it at some point in time, but it sounds more like some distant wartime practice from the Middle Ages or earlier.

"Still happens here. It's a show of strength and dedication, proof ya can kick any ass that comes threatinin' your potential mate." He seems to be relaxing more and more as you delve deeper into the topic.

"So, the wrestling...?"

"Show of strength. They're pretty equally matched, even though the lovebirds run in different circles. Makes 'em decent partners at least." You feel your mind expanding with the revelation that this scene is way deeper than you've realized. Despite the commoner's standing, they've been in control for most of the wrestling match.

"Ooooh!" You take a minute to ponder.

"So, demons won't usually go for someone weaker than them?"

"Bingo."

You wonder what this means for you two. You certainly aren't as strong enough as a demon, and especially not as strong as the Avatar of Greed.

You lose your train of thought as Mammon sits up more to face you, poking you in the forehead.

"Doesn't mean they never will." You relax your face at his touch, you hadn't realized it was scrunched up so much.

"It's not all about how tough ya are. It's 'bout how they make ya feel too. A courtship is pretty serious stuff, you don't pursue somethin' that intense with just any old schmuck."

Mammon's eyes follow your hand as it reaches to fiddle with the golden pendant he gifted you. In the middle lies some gemstone you can't find in the human world. It's clear with specks of gold and blue. He blushes and coughs into his fist.

"If it continues after that, it gets pretty serious pretty fast. Ya start scentin' each others stuff, which is a pretty ballsy move."

Your eyebrows jump up at this unexpected development. "Scenting...?"

"Yeah, puttin' your scent out so they know who ya belong to. No human nose is gonna pick up on somethin' subtle like that, but it's there." Wait, so does that mean-

"Is the house scented? Can it just be anything?" Mammon looks at you as if you've just grown another head.

"Huh?! No!" Embarrassment warms your cheeks.

"Why would we go wastin' energy like that? That's crazy. If anything is scented, it's intentional and nothin' time consumin'." You shrug your shoulders.

"Ah, ok. I didn't know." You fiddle some more with the pendant, looking away from him.

"Ack, no don't feel bad!" His face is just as flushed as yours, but he continues. "You didn't ask anything stupid. There's no way ya could've known!" You can't stop the giddy grin that pulls at your lips as he attempts to comfort you. You face him again.

"So, what happens next? If you're already doing something like that, aren't you practically together?"

"Practically, but not officially." He grumbles. "Buncha kids go around scentin' each other thinkin' they're in love. The scent fades as fast as the feelin's." He runs a hand through his hair with a sigh.

"It's official when ya make it official. A spoken agreement between partners. No bullshittin'."

"That's it?" You try to sidestep the microscopic lens of human tunnel vision, but a spoken agreement feels less official than marriage in the human world. Joint assets, joint families, and rings as proof of being claimed.

"Whad'ya mean "that's it?"?! All and everything you really feel. Ya gotta say it and ya gotta mean it. It's a bindin' contract that's a bitch to ever try and break." It clicks for you then. A demon's word is binding.

"Like a pact, but for romantic partners?"

Mammon ponders for a moment before he nods. "That's not too far off. Little more goes into it, but it's complicated." The lull that comes after feels like the end of the conversation, so you take your chance.

"Mammon, has anyone tried courting you before?"

"Hah, of course!" His grin is as smug as it always is. "Who wouldn't want to take a chance to be with The Great Mammon?" He laughs to himself, but you wonder-

"Have you ever accepted an attempt?" You're curious.

"Uh-" The question catches him off guard. "Y-yeah. A handful of times, but it never went anywhere." You're a little disappointed, but you swallow down your pride. It would be more concerning if he'd never tried to find love throughout the milleniums he's lived.

You shift your line of questioning. You'd rather focus on the present and this momentous opportunity lined up before you.

"So, say I were to get you something. What would you like?" You've never seen his head whip around so fast, truly inhuman speed as he jumps back from you and slams into the headboard.

"The hell, MC?!" His face, ears, and what you can see of his neck, everywhere is flushed at your implication. This is just as embarrassing for you, but you feel emboldened by the security of your room, the sweet scent of honey in the air, and the declarations of love coming from the movie that still runs in the background.

"What about a pendant to match mine? Would you wear something like that if I got it for you?" You've come so close. You won't give up now.

"W-why would I want somethin' like that?" You know it's a deflection. He wouldn't have stayed with you, here and now, if it wasn't. But, you're tired of it. You only want it if he wants it too. No bullshitting, right?

"Nevermind then, Mam. Don't worry, I won't get you anything. I don't want to make you uncomfortable." You reach for the remote that fell to the floor during all the commotion. "We don't have to finish the mo-"

You squeal in shock as Mammon throws himself into you. It's enough force to knock you back onto the pillows sprawled all over. You're speechless as he hides his face into your neck. He's never gotten this close to you.

"S'fine." His grip on you tightens. "A matching necklace, s'good."

You can't contain yourself. "Mam, look at me."

He hums but doesn't move.

"Mammon, look at me." You're gentle with him as you cup his cheeks.

"Seriously, you would accept it?"

"Now you're just bein' cruel. I said it's good, didn't I?!" You can feel the sting of tears building. You don't think you've ever been this happy.

You rub your thumbs over his cheeks. "Hey, Mam?"

"Whatd’ya want now?"

"Can I kiss you?"

In an instant, you're pressed back into the pillows, Mammon's lips on yours. It's not fireworks like humans talk about, nor the clashing of fangs as demons might do. It's tender and filled with a longing buried deep within the soul. It's messy. It's unexpected. It's perfect.

You pull back to catch your breath and are touched by the unshed tears in Mammon's glassy eyes. It seems the sensation was mutual.

"I love you, Mam."

You can figure out what this means for you two going forward tomorrow. You can ask about the callouses on his hands or for the stories of hardship behind the scars. You can discuss where courtships went wrong for you both, talk through your communication struggles, and love each other openly without fear. You're just so happy, really, that he'll let you love him.

"I love ya too, MC." He settles back into your arms, and you two lay there for some time, movie all but forgotten.

It's when the credits roll that Mammon shoots up, rushing to grab his jacket.

"Ah, shit!" He digs into his jacket pockets, pulling out a couple bags of hellfire twists. Your shared favorite movie treat.

"I meant to give this to ya earlier. So, ya know, we could have a snack during the movie." You chuckle at him as he rubs the back of his neck.

"We still can. Ever heard of ``To Capture a Beating Heart”?"