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rayclubs · 1 day

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Which tf2 merc do you think gets mischaracterized the least?

Good question! Let's do a rating.

In my opinion, there are three aspects to characterizing someone.

Facts - you have to get basic character backstory right. This includes all objective canon truths, events, and, well, facts about said character.

Behavior - you need to understand how the character acts, how their interpersonal relationships function, what they're like in their day-to-day life. This is the nitty-gritty of fanfic and fanart, this is dialogue, line-to-line characterization.

Integrity - you need to understand the character's core beliefs and principles, what their values are and how they view the world around them. This isn't something you can easily quote or point to as a mistake in fanfic, it's more of an overall idea of a character.

Each of these is going to be worth up to three points, with zero for terrible characterization that gets everything wrong. This would ideally total to nine points. I'll be awarding an additional bonus point for character interpretation that doesn't make me scream "he would not fucking say that". Let's go.

Scout:

His backstory is fairly simple. He has an absent father, half a dozen siblings, and a crush on his boss who doesn't reciprocate. People mostly get this right, except they also call him a virgin despite the fact he canonically lands the fried chicken queen, and seems to do it with ease. 2/3.

His behavior is also mostly portrayed accurately, in that he's loud, obnoxious, self-absorbed, and can be kind of a dick, though not completely without endearing qualities. The fandom is, admittedly, guilty of making him more insecure and self-conscious than he actually is, to amp up the drama. 2/3.

His core values, however, are completely off. The main interpretations I see of him are "depressed Scout", "homophobic Scout", and "baby Scout", neither of which is true to his character. This is a grown man with a force-a-nature complex. The homophobia is just projection and internalized prejudice, but that phenomena is too complicated for me to dissect here. I talked about it before and might make another post later. Anyway, 0/3.

Scout does not get a bonus point. He would not fucking say "poggers" but he would say "daddy-o".

Overall characterization score: 4/10

Soldier:

Very little is known about Soldier's backstory so there isn't really any room to be wrong about it. What we do know is also vague and unreliable, so it's open to interpretation. Given how little room for error there is, I'll give him a 3/3.

His behavior is completely off in most cases, often shown to either be overly aggressive or so dumb you start to question how this man functions in his day-to-day life. Canon Soldier has plenty of endearingly stupid moments but a lot of them can be read as deadpan jokes on the character's part, and many turn out to be secretly clever moments, such as him infiltrating the robot base with a goofy cardboard disguise. Likewise, canon Soldier has plenty of aggressive and mean moments, but he's not cruel and very clearly not a threat to his teammates, which isn't captured at all in fanworks that decide to go that way. 0/3.

Soldier's core ideals are mostly captured well, as in - yeah, he calls people communist as an insult in fanfics. I feel like he should mention God more often than he does in fanon, it's, like, one of the two ideologically meaningful things he ever talks about. The importance of "America" as a concept to him is mostly preserved but left unexplored. 2/3.

Soldier does not get a bonus point, he would not fucking say [homophobic slur] yet here we fucking are.

Overall characterization score: 5/10

Pyro:

His backstory is nonexistent yet people still fuck it up. His technical knowledge is clearly extensive and impressive, as shown by the complexity of his weaponry - which, mind you, looks HAND MADE - but people treat him as if he's altogether incompetent and maniacally stupid all the time always. He also ran an engineering company for hell knows how long and people just forget about it because they're allergic to adults or something. God this pisses me off so much. I mean for fuck's sake, people act like his full job description is "Pyromaniac" and not "Pyrotechnician". I'm so tired. 0/3.

His day-to-day characterization and dialogue is also completely off. People treat him as if he's INCAPABLE of communication, make him obsess over childish things he's only shown a moderate liking to in a manner that's borderline creepy and insulting, and take away his whole entire agency in everything he ever does. I will literally not give y'all a single point, you do my man Pyro so dirty. 0/3.

His ideology is complex and vague in canon, and I don't blame people for getting confused by such things as Pyrovision, but FOR THE LOVE OF GOD. In my time on Ao3 I've seen animal Pyro, cryptid Pyro, monster Pyro, alien Pyro, evil mindless maniac Pyro, incompetent baby Pyro, nonbinary Pyro (HENCE MY PROBLEM WITH THE HEADCANON, do you see how it looks next to all these other interpretations?) but I've rarely, if ever, seen competent adult Pyro with actual hopes and dreams and agency. 0/3.

Pyro does not get a bonus point because he would not fucking say "uwu" but he would say "fuck", let Pyro say fuck.

Overall characterization score: 0/10 are you fucking surprised

Demoman:

Oh poor lad what have they done to you. So, Demo's backstory is arguably the most detailed and fleshed-out in the entire canon. Too bad nobody fucking read it. Admittedly, in the recent years I've seen people mostly manage to remember he has several jobs and is overall a competent and successful man, but it's rarely - if ever - explored, I've seen exactly one fic where the author bothered to explore what one of his other jobs might be (and it was not a good fic for many other reasons, don't ask me for a link), and it honestly feels like people don't want to dwell on it? Like, they mostly mention it to fill a quota, y'know? Here, I'm not racist, I've acknowledged one of this character's achievements, leave me alone. Also the subject of him being fucking adopted as a kid never comes up. 0/3.

His day-to-day characterization suffers a lot because people think alcoholism is the most morally repugnant thing that can ever happen to a human being. This man honestly barely even has a presence in the fics he's in. Are you wondering where Demo is? Well, he wasn't there! He was BUSY! He couldn't come! There is a handful of writers who bother to write his actual inner monologue and point of view, and this point goes out to them only. Also there was a pretty good Boots and Bombs fic in which Demo was a dick to Soldier but then got better, and it stuck with me. 1/3.

His core character is fucked up by fandom because he's either all flaws or not allowed to have any flaws, and there's no in-between. Ever since I joined the fandom I've seen a lot of critique floating around, and people mostly seem to listen and realize they've been mistreating the man for long enough, but it created a whole separate problem of Perfect Demoman which is bland and boring. People don't want to write an offensive caricature but don't feel like fleshing him out either, so they just make him great at everything and never let him fail and grown in ways that are meaningful. Except that one fic I mentioned earlier, but I've already awarded a point for that. 0/3.

Demo does not get a bonus point. I couldn't find a meaningful example of bad dialogue because, like I said, he has no presence in any of the fics he's in. He would fucking say something.

Overall characterization score: 1/10 and honestly it's too generous on my part.

Heavy:

Okay so Heavy's backstory really confuses people. I've got like a dozen asks in my inbox when I called his father a revolutionary AND a counter-revolutionary. Wait till I call him a royalist, it'll blow your tits clean off. I don't feel like explaining the history of the communist regime in the USSR on this post, let's just say people are mostly faithful to canon but don't really "get" Heavy. 2/3.

His day-to-day characterization is plain bad. He's treated like a mother hen to the mercs when he's more of a stoic friend with a mean streak and a crude sense of humor. I think the main problem is the dialogue, people just can't give him the dignity of speaking in an intelligent manner. It's honestly also pretty bad in the comics. 1/3.

His core ideals are fine, if oversimplified. He's not a complicated man, he loves his family, his guns and his doctor. People rarely give him any more depth than that but it's not offensive to his character or anything. I feel like he should have more political opinions than people give him. I also feel like people make him way more protective of Zhanna's romantic pursuits, to a creepy degree. I mean, yes, he's annoyed by her marrying Soldier, and seems horrified for a brief second, but it's not like he's against it or anything, he's just kinda surprised? Anyway, 2/3.

Heavy does not get a bonus point because he would not fucking say "da". Pizda.

Overall characterization score: 5/10

Engineer:

Yeah people mostly get him. He's got 11 Ph. Ds. Some treat him like he grew up as an actual cowboy or something but most remember he's a nerd. I'd actually give all the points here because Engie's backstory is NOT complicated. 3/3.

His dialogue and day-to-day characterization is also okay, though people really mellow him down a lot. I had a bit in one of my fics where he said something like "let's teach those sumbitches how the real killin' is done" and like three different people commented on it saying they liked or were surprised by his mean energy. It's not even that mean, I think it kinda shows my problem with his interpretation. 2/3.

I asked about mischaracterization once and a lot of people replied "Engie is the most mischaracterized because people treat him like he's good but he's actually evil" which I think pretty much covers it? It's hard to write someone who is not implicitly strictly good or strictly evil. Engie treads this balance really well, I'm actually convinced his demeanor is not a facade, he is nice at times and mean when he wants to be. Fanon Engie can only be one of two things and neither is right. 0/3.

Engie gets a bonus point as an exception. I actually can't tell why, people just have his voice on-point. Is his accent and manner of speaking really that easy for you? I struggle to write him a lot. I think he should say "bitch" more.

Overall characterization score: 6/10

Medic:

People focus on the fact he lost his medical license more than on the fact he HAD a medical license in the first place. Other than that he really doesn't have a backstory. I dislike that people try to give him a sad one, I think he grew up loved and maybe even a little spoiled, but I can't fault others for not following my headcanons, so. 2/3.

His dialogue is the WORST because it's written phonetically. His goofy yet self-confident energy isn't captured well at all. The best I can put this is "people wife him" but it sounds kinda mysogynistic so really I'm at a loss. Submissivepilled breedablemaxxer. 0/3.

His core values are also all over the place. The complicated thing about writing Medic is that he actually doesn't come with pre-packaged drama. His backstory is vague, his demeanor is optimistic, his vibes are fun, and the worst thing that happened to him in canon was working with the classics for a bit - people amp it up to squeeze hurt out of it, which is fine, but not many people actually like going there. Thing is, fanfic writers aren't that good at writing drama when it hasn't been established before. They have to warp his character, make him edgy, self-conscious, or plain mad evil without redeeming qualities. I remember really struggling with my big Medic fic because I wanted it to be dramatic but had to put a lot of work into actually building up the emotion, because Medic is fine. He's fine. He's alright. He's fine. He's doing well. 0/3.

Medic does NOT get a bonus point, he would not fucking say "babygirl" and I'm not even sure if he would say "yass queen slay" I'm SORRY

Overall characterization score: 2/10

Sniper:

People mostly get his backstory right, probably because it's the most well-explained in the comics and it gets the most "screentime". It's also literally a Superman parody which is funny and memorable in concept. 3/3.

People can't find a good balance between stoic professionalism and social anxiety. I think Sniper is actually pretty simple, in that he's a little self-conscious which pushes him to actively better himself as a professional, but also makes him a little awkward so he comes across as standoffish and a little mean. He's a solid bloke that's balanced and feels real. Fandom has to go for the extreme every goddamn time with him. It sucks. 0/3.

People kind of get his drama, his relationship with his family and whatnot - mostly because a lot of us losers can relate, I bet - but, again, go for the extreme in making him anxious, whiny, and sad as a wet kitten. Unless it's a porn fic in which case he's an absolute freak that growls at people. I don't know what it is about Sniper that makes him so difficult to characterize. Manic pixie dream boy. Dark and moody lover love me like no other. 0/3.

Sniper does NOT get a bonus point because he doesn't say "cunt" nearly as often as he should. Also send me asks about my Sniper takes I want to stir up some shit.

Overall characterization score: 3/10.

Spy:

The only piece of his backstory we actually know is that he fathered the blight of the earth that is Scout TF2. 3/3.

His obnoxious and insufferable demeanor is mostly captured well. A lot of his portrayals aren't nearly as classy as people think they are, but that's because most authors are themselves proletarian, myself included, which is fine. Not many make the effort to pepper his speech with French words it would actually be natural for him to say, and blame it on the nonsensical complexity of the French language, but I'm not buying it as an excuse. 2/3.

His core values are off in regards to Scout - he's often portrayed as soft, mellow, overbearing, and critical of Scout's love life to either a comical or an uncomfortable degree. His fandom portrayal often also lacks the self-confidence he's demonstrated in the comics. Spy is not above strangling a man with a chain that holds the shackles around his ankles, he wouldn't consider it a blow to his dignity to fuck any of his coworkers either, come on. He's also funny and goofy but the fandom tends to neglect that. 1/3.

Spy does not get a bonus point because he would not say "perchance" but he would say "your mother".

Overall characterization score: 6/10

The final scores are:

Spy - 6/10

Engineer - 6/10

Heavy - 5/10

Soldier - 5/10

Scout - 4/10

Sniper - 3/10

Medic - 2/10

Demoman - 1/10

Pyro - 0/10

There we go! Pyro is the most mischaracterized, Demoman is a close second, and nobody is characterized well. Cheers!

#raynswers #my good friend cock #tf2 #tf2 scout #tf2 soldier #tf2 pyro #tf2 demoman #tf2 heavy #tf2 engineer #tf2 medic #tf2 sniper #tf2 spy

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ao3commentoftheday · 16 hours

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The ao3 tagging system is pretty good, we all know that, but I'm always on the fence of what exactly to tag or warn for.

The archive warnings are a given, but I recently wrote a fic that was mostly banter and fluff, but where there's one chapter that had a description of a fight. I gave a warning in my author's notes, but I didn't put "descriptions of violence" or "blood" as actual fic tags because the story is 30 chapters and there is half a chapter where blood is mentioned. My friend said I should because it's a feature that makes the story better, but I wasn't sure because people who would want the blood would probably not want to read through 20 pages of fluff to get there.

Now I'm a bit confused, like do I just add anything to the tags even if it's not at all a substantial part of the story, or do I tag it with what is most representative of the story and then put a warning in the one chapter itself?

There is no one, perfect, correct, right way to tag - no matter what you might read other people saying. It all comes down to your choices as the author of the fic and how you want to present that fic to potential audiences.

That said, you and I have the same mindset about tagging.

When I tag a fic, I mostly just hit the highlights. Main characters, main ships, main tropes, main mood. Generally speaking, I'm one of those people who rarely even hits the average number of tags on a work (which was 17 tags, back in 2021)

The reason I do that is like you said: people use tags to either find things or avoid them. By indicating the biggest things in the fic (ideas, themes, characters etc), I'll net the people with the best chance of liking my work and warn off the people with the best chance of hating it.

If the content you wrote doesn't warrant the Archive Warning around violence, then I think you're fine not tagging it. Adding it into your author's note will provide warning to those who are reading without drawing in others who, like you said, might not be interested in the rest of the work.

And just a tip for folks who want to find or avoid stuff that's only mentioned in author's notes and isn't mentioned in tags - you can use the Search Within Results box in the filter menu. That searches all the fields associated with a work, except the text of the fic itself. That includes the summary, author's notes and tags.

What about the rest of you? How do you prefer to tag? Or if you're predominantly a reader and not a writer, how do you prefer authors to tag?

#asks and answers

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tenelkadjowrites · 16 hours

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i've been putting off making a formal announcement on this blog but i think i've reached a point where i can say the blog as everyone knows it is...done. the hiatus has turned into a retirement of sorts.

basically, going forward, there is no promise of any fics being posted, no more tag lists, no more icon/header changes for a hwa fic, etc. fics can be posted randomly and not just be focused on hwa, it'll be about whatever catches my attention and i want to write a fic on. this could mean months upon months with no update. it could mean i never update again. idk i am not really focusing on it.

so yeah, thats the short version. longer version under the cut.

the thing about running this blog is that over time it ended up being whatever idea i had needed to be tweaked in order to feel comfortable post it here. that could be trying to put smut scenes in, or thinking about the dynamic and how it would come across to an audience, or if i went too long without posting and it would weigh on me.

after my move to toronto, i hit burn out with the blog. i missed writing original works, and i missed the genre exploration i liked to do with original pieces such as horror. i dealt with a sort of nagging guilt if i didn't post on here for long periods of time and i felt like if i kept pushing against how my brain was going, the fics posted here would suffer in quality.

ppl who have read this far know that i don't pay attention to the amount of notes i get on my fics. i write the ideas because i want to write them. that's been my rule and once i got the sense i was writing for the blog and not writing cuz i wanted to, i realized i needed to step away from it.

so going forward, the only time this blog will be updated is if i got a story idea that naturally and organically was planned as a fic in my head. this could mean no more hwa fics ever again. it could mean fics about random video game characters. it could mean more star wars fics. or it could mean i don't update for a really long time. i don't know what form it will take. i'm not really focusing on that.

while this blog was my primary focus, i met a lot of amazing people and ended up meeting people that now mean so much to me. i had tons of nice messages sent to me. i never thought i'd get 3k followers here and that wasn't my goal, it just ended up happening.

if you read all this, thanks, and thank you to everyone who took the time to read anything i posted, it means a lot. i'll be at the toronto ateez show if anyone wants to say hi.

my main blog is @hologramhoneymoon - you can follow me there for a lot of random reblogs from a lot of random things.

#announcement #in my jerma retirement era

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rebouks · 4 hours

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hi becca! i was just curious, as a huge fan of your storytelling, do you have a method to how you do it? is that something you've talked about before on here i may have just missed? do you write everything out as a sort of script or just kind of go with the flow? i love hearing about how people create! i hope you have a wonderful day <3

ooooh what a fun question! and ty for being a fan too!! 😭🧡

i suppose i do have a method but it's a bit chaotic as i mostly work everything out as it happens and don't really plan ahead other than a few ideas or a direction i wanna go in u kno? like i have nothing written out for my next arc yet.. only a few ideas for a few scenes 😱 ideas do be forming tho! i may have a first scene in mind 👀

i mostly ask myself where i'm going and/or what i want to show! for example i have a bullet note for the future that says "someone gets injured/breaks smth and [redacted] faints" because said someone is squeamish abt that kinda thing so i want a way to show that rather than tell! all my notes are abt as vague as this & i'll only flesh em out with dialogue/poses closer to the time along with figuring out how they fit into a timeline of other events which is also pretty random depending on what's going on 😅

there's pretty much two things that make up my story.. 1. overarching themes that span a long time eg. Robin struggling with then somewhat gaining control of his gift - these usually centre around character growth or lack thereof! 2. random ideas - the kind of scenes i usually think of in the shower or bed & think YES i need to do that at some point skdjskj i have so many of these for Robin/Wren especially 🤸‍♀️

tldr: 2% last minute planning 98% brain rot 🧠

#ranswers #i love this kind of question #<3 #but i also have no idea how to answer it #lmao #it's like when someone asks u how to drive or ride a bike n u really have to stop n think #but even then ur kinda like uhhh?? idk i just do it #i just have ideas/arcs that randomly come to me or are important for particular characters n find a way to slot em all together eventually #i don't rlly force it or anything #the main thing i ask myself is what i wanna tell/show then think of fun ways to do so n run with it #or stuff randomly comes to me n i fit it in somewhere later

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dailymothanon · 2 days

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I’m back 🐶 thank you for being patient, things are relatively back to normal! Anyways I got some drawings… it’s the actual D&D au now! I’ve got plenty of ideas, but for now this is Alaska and Maine! Alaska is a Druid, circle of stars though his race is unknown (I also don’t have any general cloth ideas for him). It is noted he is very bird-like tho, no wings because he can just have a wild shape/starry form with a pair. Maine is a half human half beast, he’s quite prickly because unfortunately even in this au he still has to deal with the northeast 😒 (long rants of ideas below)

I also have other ideas for other states, but I haven’t drawn them yet. For New Jersey I’m thinking like Nevada he is a fae folk but of a bee; and he was born with deformed and torn wings that resemble the Jersey devil’s. But due to his deformity his “hive” decided to just toss him out because they wanted a big strong community with no one holding them back 😒 so maybe Jersey had to barely survive out there on his own, and in later years NY could’ve found him (I like to think he is a human knight, merely because instead of his bat he can have a sword) and took him in 😌 (and they were roommates)

Another idea I’ve got is for Texas! I would like to think he is a mostly human gunslinger who is legally blind (not totally blind, tho still very blind) but sees thru heat & taste, much like a snake does. Maybe he collects bounties, I haven’t really thought much for his lore yet 🤔 but he is one of the best gunslingers out there despite his disability!

Cali is also one I’ve thought up, I think he could be a dragon rider. A funny idea is that he has a scam where he and his dragon makes this whole act where he pretends to be a princess damsel in distress, being held captive by the big bag dragon and people who come and try to “save” him but it just ends up with Cali robbing them 😒 (love me a big flawed character)

As for Alaska, he’s as stated, a Druid of the circle of stars! He comes from an unknown island (just imagine irl state of Alaska except disconnected to any continent tbh) that’s gatekeeped gaslighted girlbossed because they don’t want no colonizers or anything ofc. But Alaska grew up hearing all about the other outside lands and he wanted to go see it! So one day he ventured into the continents (the one that contains all the other states except for Hawaii) and yaddy yadda; and Alaska is actually very curious and friendly in this au because he doesn’t have the trauma of outsiders 😌 he has a pet(s?) dog with three heads (ofc, Balto Togo and Fido) to accompany him! I haven’t designed his starry forms yet btw. And also he doesn’t really know how his Druid magic works somehow 🧎 it’s mostly innate and learned behaviors and habits and traditions. It just comes naturally to him! This is the biggest difference between him and Mass with magic, think of Alaska’s Druid magic as traditional and natural, meanwhile Mass’s sorcery as artificial and learned and studied magic. So it’s hard to say who between the two is better at magic

Maine is a half-human-half-beast, he faces discrimination because of it and there aren’t much others like him in at home land. He mostly doesn’t care but the occasional person really gets to him. Not really sure why he is half beast yet tho I don’t have the lore for that. Mass keeps trying to pester Maine about learning magic, as Mass is one of the best magic users in his region (and he’s quite boastful/egotistical because of it) so he believes Maine might be really good too, and Mass wants him to be able to know it when in times of need, but Maine doesn’t really listen 🙄 though he is nimble and quite good at sneaking!

My last minor ideas is that Ginny is a great swordsman (race undecided), Mass is probably a human sorcerer, Nevada is a fae folk, Ny is a human knight, and Hawaii 🤔 some sorta sea/ocean critter maybe? Dunno yet. Anyways I hope these ideas are cool and that you guys like them! I also want to mention I probably wont post daily still, I wanna do what’s comfortable for me.

#wttt #welcome to the table #welcome to the statehouse #ben brainard #wttt fanart #wttt fan art #wttsh #wttsh fanart #wttt headcanons #wttt alaska #wttt maine #wttt au #wttt mass #wttt massachusetts #wttt new york #wttt new jersey #wttt california #wttt texas

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sherbertquake56 · 3 days

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So the C!Sherb playlist stream...

I know I literally just finished yelling about the playlist for 3 hours but I wanted to put out a lil smaller version hehe- so here are some of my top songs that I think are right on the nose...

Sharks by Imagine Dragons - [CORRUPTION ARC S1] I absolutely love this song for Ominous Bane messing with Athena, and just overall Athena's POV of the corruption arc. Favorite Line: "Take advantage of you niceness, cut you up in even slices"

The Main Character by Will Wood [PRISON ARC S2] This song is a perfect representation of Sherb's mental space after remembering in season 2. It's very "there are worse people than me, and therefore I can do no wrong! i can do anything and it will be good" and I eat it up-- Favorite Line: "Villians are everywhere, that's how I know that I'm the hero"

Moonsickness by Penelope Scott [END OF S2] For me, this is learning more about the wack and trying to fit into the role of Fable's child. It's the idea of trying so hard to bring back Haley and ending in just dead ends. Favorite Line: "But I make lemons out of lemonade..."

The Tornado by Owl City [UNLOCKED S3] The way I look at this song is that the weather and the storm is a metaphor for the wack. At the start, small changes are increasing leading to the wings shattering, and Fable finding them. (And then ya know the end section could totally by Icarus ascending hehehe) Favorite line: "But if I went home to heaven, at least that's where I'd belong"

Hero by Regina Spektor [CENTROSS DEATH S3] This song represents the direct spiraling after Centross fades away. Icarus is in shock and still processing what just happened (very poorly). Favorite Line: "I'm the hero of the story, don't need to be saved"

Solitary Confinement by Everybody's Worried About Owen [ISOLATION ARC S3] A representation of Icarus "being in too deep." it's the idea that just because they did choose this, that doesn't mean it's good for them. Favorite Line: "You cannot isolate me past the walls that I have built"

Ruin by The Amazing Devil [ICARIXIS ASCENSION S3] The female voice is Icarus, male voice is Midas. The song follows the full scene of Icarus entering the Worldport all the way until they are Quixis. (I absolutely love Midas's lines in this) Favorite Line: "Nothing quite prepares you for when they don't come back..."

Ghost Song by Ratwyfe [EPILOGUE] After ascending to quixis, this song is them being able to watch their world, but barely interact with it (like a ghost!). I have several songs with ghost imagery that I like for Icarixis but this one is by far the best. Favorite Line: "Trying to show the world I still exist..."

I love all of the songs on the playlist, but if you only listen to a few of them, make it these ones. I'll also drop the playlist link here (which you can find already on my youtube!)

...and if you made it this far I have a special treat for you! the link to my personal C!sherb playlist (not public)! theres some overlap but also some other ones :) my silly icarus playlist

#fable smp #fsmp #fablesmp #icarus morningstar #fable smp icarus #fable smp sherbert #quixis

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dukeofdelirium · 3 days

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This has to quite possibly be the dumbest Anti-Aang I’ve seen on Tumblr. “Aang didn’t go out of his way for anyone”. Like that’s objectively wrong, factually incorrect. Like saying The Earth is flat, you can think it all you want, but it ain’t true. I ask you, I genuinely ask you, how can someone call themselves a fan of this show when they completely misinterpret it and hate the main character this much? This person’s crazy.

Aang never went out of his way for anyone? My god, if this take were true, Zuko would have been dead at the end of season one. Everyone aside from Aang was fine with the idea of allowing Zuko to freeze to death, leaving him to die. Aang was the one that saved him.

Holy shit, the first thing Aang ever offered to do with no expectation of anything in return was to offer Sokka and Katara a ride home before they died themselves stranded in the tundra. He then offered to take Katara to the other side of the world to fulfill her dreams. When he was banished from her village, he left without protest and even said he didn’t want to come between Katara and her family. Even when he was sad to leave because he had just made a first friend in who knows how long (seeing as we know he was ostracized at the temple), he still left.

He then came back not to break the banishment but to save their lives. He offered himself up, LITERALLY sacrificed himself for them, with no expectation of anything in return.

Aang is an extremely compassionate, good natured person. He is the most “altruistic” character in the show, followed only by Katara who comes nearly as close (one of the reasons they are so good together).

He singlehandedly put the fires out on Kyoshi Island that ZUKO SETS, he protects the NWT from invasion in every possible way he can and singlehandedly wipes out their fleet when he gives himself over to the ocean spirit, he demands they search for Bumi NOT because he needs a teacher but because bumi is his FRIEND! He saves everyone in the cave by making sure they don’t get fucking crushed with its collapse, he is willing to sacrifice himself and force himself into the Avatar State to win the war because he is that guilt ridden even when the AS is extremely painful and traumatizing to him, he stops this only when it affects Katara because he loves her, he offers to let Toph run away with them not because he wants to use her as a teacher but because he listened to her life story and wishes to help her feel free, he fucking dies for Katara and sacrificed his own love for her to save her life

he tries to shoulder every burden he feels on his own as a means to protect the other characters

he supports Sokka when he voices insecurities, he is welcoming and friendly to Hakoda and even inquires about how Katara is feeling when he meets Hakoda, he sobs during the eclipse invasion because Katara and Sokka have to be separated from their father again and Aang blames himself for this defeat and is grief stricken because he is so upset they are losing their dad again (and he thinks it’s his fault)

Why the actual fuck would Katara ever “choose” Zuko over Aang?

Katara was never deeply tied to Zuko. She always saw him as an enemy trying to take away the boy she loved. This is why she threatened to fucking kill him.

Zuko helped his sister murder Aang right in front of Katara’s eyes. It was canonically the darkest period of her life.

Katara’s anger and hatred toward Zuko is 100% justified. Of course, Zuko is a self absorbed ass, so he claims her anger isn’t justified and that she’s just projecting. Her anger toward him specifically had far more to do with what he did to Aang and far less to do with what the Fire nation and Zuko’s family did to her mother. Even still, she’s right to be angry about her mother’s murder too, and Zuko’s piece of shit family is responsible.

Why the fuck would Katara magically drop to her knees and suck Zuko’s dick? He’s literally a colonizer for over 2/3 of the show. He didn’t just have a passive role, he was an active player in the war and invaded the NWT with the FN as a means to capture Aang and take him back to his daddy, where Aang would have undoubtedly been tortured mercilessly and kept on the brink of death. He assaulted Katara during this and knocked her unconscious, he taunted her with shitty words and undermined her bending ability and threw some racial/classist remarks as well as some misogynistic ones her way.

When he eventually did get his shit together and join the group, he just used her mother’s death against her and Sokka because that’s all he ever did in regards to Katara and Sokka’s mother. He learned how she died, then had Sokka divulge trauma to then use said trauma to try and force Katara to forgive him by persuading her to go on a suicide mission of revenge and bloodlust. He also literally mocked Aang’s culture and genocided people to his face, when his family committed the genocide. Oh, and he also mocked Aang’s forgiveness despite begging on his damn hands and knees for that very forgiveness like 3 episodes prior.

And then at the end of the episode, Zuko states himself that he legit doesn’t understand Katara or what she needs in life. Cuz of course he doesn’t. He isn’t a survivor of genocide, he hasn’t suffered ethnic cleansing, he isn’t oppressed. For fucks sake, his mother isn’t even dead and he gets reunited with her a few years after the canon shows timeline. Everything Zuko loses, he has returned to him. His honor, his right to the throne, his mother.

But tell me again how Katara and Aang are a bad match when they are the only two who will ever truly understand the other

#I don’t hate Zuko but I’m sick of this fandom dickriding him at Aang and kataangs expense #kataang #pro kataang #anti zutara #avatar the last airbender #atla

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senditcolton · 3 days

Text

hits different

do you think i have forgotten... about you?

series masterlist | playlist | word count: 9.3k a/n: here it is! the finale of the "we're a bad idea" series. it's crazy to think that this series started on a complete whim and turned into this. i had so much fun writing this for you all and screaming about it with you and... gosh, just, thank you for all your support! I hope you all love this conclusion as much as I do. warnings: feminine reader, teammate's sister, age gap. smut! heavy handsy make out, oral (f receiving), protected penetrative sex. Disclaimer: Reading/creating content for married players isn’t for everyone. Please don’t read if you don’t vibe with it, but don’t attack me or others!

It felt like something out of a goddamn movie.

The way your eyes locked onto each other the very moment you settled next to Shannon at the altar. How the scent of the flowers that Emily had chosen for your bouquet suddenly became overwhelming. The feeling of heat that rushed through you – a heat that had nothing to do with the warm July afternoon and everything to do with the blue eyes that had captured you under their gaze.

Not the mention the film reel flashback that replayed in your head of those months when you allowed him into your bed and into your heart. And how he broke you into a million pieces and sent you running to Los Angeles to escape his hold on you.

Almost two years and three-thousand miles between you and him. You thought that would be enough.

But, even after all of that, it seems that you still couldn’t forget Matt Martin.

And based on the beating echoing through your ribcage, it was obvious that your wretched heart failed to remember how much it hurt whenever he was around.

The string music dancing on the breeze lifts to a crescendo and you almost scoff at the irony; like the universe itself was trying to arrange a reunion worthy of an Oscar-winning romance. Then you heart stutters when you see Matt lift from his seat, his eyes still locked on your frame and you fear that a love confession was about to fall from his lips.

Thankfully, that doesn’t happen. Instead, he turns from you, directing his gaze down the aisle.

The embarrassment rushes through your body and you have to shake your head at your dramatics; at the way you made yourself the main character in a moment that was anything but yours.

This was Scotty and Emily’s moment – their wedding, for Christs sake. Your eyes divert to the end of the aisle, watching as your soon to be sister-in-law walk to your brother, her stunning white dress flowing behind her. You sneak a glance at Scotty, watching his eyes water as Emily takes those final steps towards him. This was the reason you were here. Not Matt Martin.

Somehow, you manage to make it through the entire ceremony without looking out to the audience and those ocean blue eyes. When you walk back up the aisle for the recessional, your arm linked in Sebastian’s, your gaze locks with Matt’s once again before he disappears from your sight.

It’s a moment of reprieve as you sneak back into the cabin where you and the rest of the bridesmaids had spent the night, a deep breath lifting your chest.

You should’ve known he would be here. He was your brother’s teammate, a fact that you were all too aware of when this tryst began. Still, you hoped you wouldn’t have to face him. Not because you hated him or because you had moved on. But because there was still a part of you that craved him, that couldn’t let him go.

There was an ache in you and it felt like only he could heal it.

How? The answer to that question was still uncertain. You didn’t know if you needed him to apologize, or give you closure, or tell you everything you’ve always wanted him say. But you weren’t ready for it, whatever it was.

And when you walk into the reception area where the guests waited, your heart proves how unprepared you were based its reaction when your eyes find Matt. And the gymnastic routine it does when you realize that he was seated at your table, only a few spaces away from you.

Dinner is excruciating. It feels like a choreographed routine as you stop your head from drifting too far to the right to look in Matt’s direction, pretending that you don’t feel the weight of his stare, laser-focused on the toasts and your brother’s first dance. And when the dance floor opens and the mingling begins, the reason you fly from your chair was to greet other guests, performing your duty as a bridesmaid.

Not because you were desperate to delay the inevitable conversation you knew you had to have with the one man you had been avoiding.

Blissfully, a familiar voice calls to you from across the space and your eyes lock onto Mat Barzal, frantically waving at you from one of the other tables. You smile, walking over to him as he rises from his chair and hugs you, your name falling from his lips with that bright cheerfulness that you heard so frequently over Facetime calls and nights out in LA when the Islanders came to California.

“How are you doing, Barzy?” you ask, pulling away from the hug.

“Pretty good,” he replies, his hand falling to the shoulder of the pretty brunette occupying the seat next to him. “Have I introduced you to Lyla yet?”

“Well, you’ve talked about her enough that I feel like I’ve met her before,” you laugh as you steal Mat’s seat from him, holding out your hand before formally introducing yourself. “Good to officially meet the girl that stole this idiot’s heart.”

“Nice to finally meet you too,” Lyla says, taking your hand in hers. “Although, I will be honest, when I first saw your name on Mat’s phone and how many Facetime calls the two of you shared, I was a little concerned. Thought you were a long-distance girlfriend or something.”

“Completely understandable,” you laugh, admiring her candor. “But there’s nothing to worry about. He’s a little too sweet for me.”

“I’m standing right here,” Mat huffs and you look up at him with a smirk.

“It’s nothing you haven’t heard before.”

Your relationship with Mat Barzal was the one thing that had shifted in the years you were away but it definitely changed for the better. He had turned from a potential romantic partner to a true friend. That shift – one that was brought on after a night of too many French Blonde cocktails – lifted a weight off both of your shoulders and opened the door for an even deeper connection with star winger.

“I hear that I have you to thank for him asking me on a date,” Lyla says.

“I did nothing but push Mat to ask for the number of the pretty girl at the gym that he spent almost a half-an-hour raving about,” you laugh, loving the way both Lyla and Mat’s cheeks flushed. “You had him whipped before he even knew your name.”

“Oh, trust me, I figured that out eventually,” Lyla jokes and you can’t help but scoot in, ready to hear all the embarrassing stories that Lyla was willing to share. And share she did. It seems like hours of laughter and conversation, Mat even dragging a chair over and joining in – although most of his comments are attempts to defend himself. Eventually, Lyla gets up to run to the ladies room, departing with a kiss on Mat’s cheek and you can’t stop the smile that appears when Mat’s eyes stay glued to her as she walks away.

“I like her,” you say, calling his attention back to you. “She’s way too good for the likes of you.”

“Oh, I know,” he laughs, taking your jest in stride before sipping his beer. You see his hazel eyes bounce across the room, pausing momentarily before they return to you. “Have you talked to him yet?”

A sigh rushes through you as you shake your head.

“I still can’t believe I told you about him.”

“You told me like… eight months ago. Besides, you can only blame yourself.”

“Hey, I can also blame copious amounts of alcohol.”

“Yeah, alcohol that loosened your tongue and sent his name falling out of your mouth,” Mat quips, his eyebrow raising. “Along with your dinner.”

“Please don’t remind me,” you say, your mind jumping back to the night in question.

It was November, when the Islanders played Los Angeles. You and Mat met up at a local bar – just the two of you and it was that night that your relationship changed completely. Because in your inebriated state, Matt Martin’s name slurred from your lips while Barzy was attempting to shove you into an Uber.

Despite facing the wrath of his coaches, Mat helped you back to your apartment and kept you company that night, his reasoning being that he wanted to make sure you were alright and a California road trip allowing him the time to do so. It was over greasy eggs and bacon that he asked why you said Marty’s name. And you told him.

You even told him about the night of the charity gala, emphasizing that you never meant to use him like that. And that the reason why you never took him up on his offer to be more than friends was because you didn’t want to use him more, keep giving him false hope.

The truth stung him for a few days but after giving him the time and space he needed, the honesty and clarity brought the two of you closer. Now, he was the only person in your life that knew the whole story of why you left Long Island. And, like the good friend he was, he kept your secret all that time.

“You know you’re going to have to speak to him at some point,” Mat prods.

“I know,” you quip, playfully rolling your eyes. “Doesn’t mean I can’t avoid him for a few more minutes.”

“You’ve been avoiding him for almost two years. Don’t know if a few minutes is going to help.”

“When did you get so wise?”

“You can thank Lyla for that,” he smiles and you watch his whole expression soften at the mere sound of her name.

“She makes you happy.”

The sentence is more statement than question. You were there on the other end of the line when he talked about the first time he saw her. You gave him pep-talks and advice on how to ask her out. You helped him plan dates and dinners. It was obvious that this girl was something special to him.

“Happier than I’ve been in a while.”

“Then why are you still sitting here talking to me?” you say. “Dance at a wedding with your girlfriend.”

“Alright, I will,” Mat laughs, standing. He doesn’t depart immediately, choosing instead to lean over to you with a serious look in hie eye. “But you have to promise me you’ll talk to Marty.”

Another sigh escapes you as you let your head turn to look at the reception hall, your eyes glancing off the crowd of guests before landing on Matt, leaning against the wall, talking to Cal and his wife. As if he can feel your eyes on him, his gaze drifts to you and you watch a myriad of emotions dance on his face, each so subtle and fleeting that you couldn’t even begin to decipher what he was thinking.

“He’s been asking about you, you know,” Mat’s voice sounds, pulling your attention back to him.

“He has?”

“Yeah. Asking me, Scotty, Emily, anyone really. How you’re doing, what you’re doing.”

“What have you told him?”

“Just surface level stuff: your job, your complaints about the weather and LA traffic, things like that. It seems like he wants to talk to you,” Mat says. “So, you should talk to him. If nothing else, you might at least get some closure.”

You exhale, you mid swirling with the information that Matt Martin was still thinking about you, maybe in the same way you were thinking about him. Your head was a mess of doubts and hopes and fears and longing and desires. You just breathe through it all, pulling Mat into another hug which he reciprocates.

“You’re a really good friend, you know that right?” you ask, your voice muffled by his tuxedo.

“So I’ve been told by this really cool Los Angeles girl who overthinks everything.”

You laugh as you let your arms fall, Mat shooting you that crooked smile before he is walking away. You see him intercept Lyla as she re-enters the reception area, taking her arm in his and pulling her to the dancefloor, the smile on her face brightening as Mat leans in and kisses her cheek.

There was a part of you that twinged at the sight. You knew it was jealousy – not the traditional jealousy but a different form. You weren’t angry that Mat found joy with someone that wasn’t you, but envious that he found someone, period.

Especially since you were unable to move on from the man you shared a scandalous but exhilarating few months with. The man you promised yourself you would forget.

But then you hear his voice sound from behind you and feel that exquisite ache that you had never been able to soothe throb in the center of your chest.

“Hey.”

You turn to see him standing behind you, his suit looking almost too perfect for his body, his hair tousled and falling over his forehead. You watch as his blue eyes rove over your face and you wonder what he’s thinking and if all the same emotions are flooding his system the way they were yours.

“Hi,” you whisper, cursing your voice for coming out sounding so timid, cursing yourself for still allowing Matt Martin to make you feel small. But instead of that cool smirk that used to always appear at the sound of your frailty, his face remains impassive, his eyes flicking down to the now vacant seat next to you.

“Could I sit?” he asks and your head spins, not only because of the gentleness of the question but the fact that he even asked at all. The Matt Martin you used to know would’ve sat down immediately, invading your space boldly and brazenly for no other reason than to get a rise out of you.

You nod, watching him settle down into the cushioned seat and take a sip from his whiskey glass, his eyes still on you. It takes an immense amount of effort to break your gaze as you reach for your own wine and letting the smooth oaked flavor dance over your tongue.

“How have you been?” Matt breaks the silence again and you know you hear a hesitance in his voice, like he is unsure if he should even be addressing you.

“I’ve been alright,” you reply, your own voice thick with trepidation. “You?”

“It’s been decent.”

“I’m sorry,” you say, and his eyebrows quirk up in curiosity at your words. “For your injury. The playoffs,” you elaborate. Your gaze stays locked on him, trying to understand the micro-expressions that pass over his face.

“Thank you,” he replies and you just nod, taking another sip of your wine. “Didn’t know if you were even watching.”

“Wanted to support my brother.”

“Right,” he sighs. “Of course.”

You hated this. Hated the weight that hung over the two of you like a lead curtain, making anything beyond small talk too difficult to say. You weren’t sure how to surmount this obstacle, not sure if it was even possible to overcome. But someone had to be brave and attempt that first step.

With a deep breath and another sip of liquid courage, you turn you attention back to Matt.

“Was there… something you wanted to ask me?” you question, the words as stilted and unclear as the intention behind them.

Matt looks at you, his blue eyes wide as he absorbs your words. It is a moment of stillness before he is finishing off his whiskey and setting the glass on the table, lifting himself out of his chair. Your heart flips in fear that you said the wrong thing, that you ruined the moment before it could even take shape but that concern is silenced when Matt stands in front of you, holding out his hand, his palm upturned.

“Dance with me?”

Of all the questions that you thought Matt Martin would confront you with, this was one that you were not prepared for. A sentiment that is echoed by a bewildered ‘what?’ falling from your lips.

“Will you dance with me?” Matt reiterates, the request turning into a genuine question. Would you let him take you out onto the dance floor and into his arms again?

Your eyes rove from his face to his hand, still outstretched. The hesitance lingers in you reflected by the way you lift your own hand, your fingers curling back in a moment of uncertainty before you allow them to touch his. They glide against his calloused skin, wrapping around his palm, his own fingers winding around your hand.

Another glance up at him shows you the slightest smile playing at his lips. But it isn’t twinged with the familiar undercurrent of cruelty or power. Instead, it looks like relief.

He gently tugs you upright before leading you to the dancefloor, the refrain of a slow melody encompassing you moments before Matt’s arms do the same. He adjusts the grip on your hand while the other finds a respectful place on the small of your back. You let your own free hand lift and rest delicately on his bicep as the two of you begin to sway.

The silence between you remains even as the music rises and falls. You still avoid looking in Matt’s eyes, content to stare at the hardwood floor even though you can feel the weight of his gaze. In the back of your mind, you knew that if your eyes locked with his, you wouldn’t be able to keep your composure. That possibility was to be avoided at all costs. You couldn’t let Matt Martin regain the control over you that he used to have.

“You look beautiful.”

Those three muttered words, the compassion behind them, makes your resolve crumble, your eyes darting up to meet with his.

“Thank you,” you say, your voice breathless – the exact opposite of the curtness you wanted your tone to convey. But perhaps it wasn’t your choice to soften your words. Maybe it was subconscious, based on the way that Matt held you, the way he spoke to you, the way he looked at you. It felt different.

He was different.

“I missed you,” he whispers; the first real confession of the night.

“Matt,” you sigh, the cynic jumping out to protect your heart – the one that he shattered.

“I know,” he says. “I know what you’re going to say.”

“How can you?” you challenge him, the small flame of anger that you held flickering in your chest.

“You’re right. I have no idea what you were about to say. But I can make a guess.”

His words extinguish that resentment as soon as it appears, your eyebrow raising in surprise – not only towards his words but in his concession to you, he deference of power, the pendulum swinging in your favor. Your silence allows him to continue.

“I know I haven’t given you any reason to trust me,” he begins. “For you to believe anything I say is the truth. But I guess… I’m just wondering if you would give me a chance. Let me prove it to you.”

“Prove what to me?”

“How much I missed you. How much I care about you.”

He pulls your closer to him and you allow it. You let him hold you tighter until your chests press together, the smell of his all too familiar cologne flooding your senses. You swear you forget how to breathe when you feel his hand trace up your arm before resting against your jawline. The gentle press of his fingers guides you to look up at him, his thumb caressing your cheek.

“Let me prove that I was an idiot for ever letting you go.”

You can feel the tears prick the corner of your eyes and you know Matt can see them, watching as they well up on your lower lashes. His words seemed so sweet, so genuine, and you so desperately wanted to believe them. But there was still that voice in the back of your mind screaming, ‘this is what he does; he’s an expert at speaking these saccharine words but you know they’re never fulfilling.’

But here, now, he was promising to prove it to you.

The words of acceptance are dancing up your throat, hanging on the tip of your tongue and at the edge of your lips. But before you can speak them into existence, the universe silences you once again.

“Alright everyone, please clear the dance floor and let the bride and groom have one private last dance. Make your way to the front entrance and get ready to send them off in style!”

The MC’s voice booms from the speaker, pulling your attention and your body away from the gentle hold of Matt. The uncertainty and distrust take advantage of the interruption to reassert itself in your mind.

‘This was a sign,’ it said. ‘The universe is protecting you from getting your heart broken again.’

But when you look back, your eyes connecting to Matt’s once more and you still see nothing but yearning on his face, you feel your own longing surge again.

“Meet me by the fountain when this is all over?” you ask.

“I’ll be there.”

This time, you really do believe him.

You meet with the rest of the bridesmaids and hand out the silver streamers. You are blessed with an immense amount of coordination and impeccable timing as the streamers pop right as Scotty and Emily make their way through the crowd and hop in the car, already packed with their suitcases and honeymoon plane tickets. It is another few moments of clean up and meeting with the wedding coordinator before you are able to run back to the cabin where you and the other bridesmaids stayed for the past two days. You grab your overnight duffle bag, slinging it over your shoulder before making your way through the country club and out to the garden near the front entrance.

The two aspects of your personality were still at war with each other as you entered the terrace. Part of you prayed that Matt would keep his word and be there, just like he said. The other part prepared itself for the possibility that this was all just a cruel joke, an elaborate attempt for him to keep his hooks in you.

But when you walk out and see Matt standing next to the stone fountain, his profile illuminated by the garden lights, your desire once again silences the doubt in your mind.

You wanted to trust him. Sure, you might get hurt. But you could also heal.

That hope was worth the risk.

Matt hears your heels clacking against the pavement and turns to face you, his lips curling in a gentle smile at your approach.

“You’re here,” you say, breathless, as if your brain still didn’t trust that this wasn’t all a dream.

“I told you I would be,” he replies, holding out his hand to you again, another offering for you to accept or reject. This time, your hand slides easily into his, your fingers intertwining.

There is a pause, as if neither of you expected to be in this situation. Now that you were, you were both unsure what to do next. The uncertainty sinks into you, your voice breaking the silence in an attempt to continue the moment.

“I was planning on getting a room at the hotel airport,” you explain. “If you want to join me.”

You swear you see a flash of surprise cross Matt’s face at your suggestion before softening, a look of gentle exasperation painted on his features.

“Is that how you think I’m going to make it up to you?” he asks. His tone isn’t frustrated or offended. Instead, it’s curious, like he truly wonders if that’s what you thought of him. Or if that’s what you needed from him.

The ache that rushes through your body, reminiscent of the desire you always felt towards him but multiplied tenfold, gives you your answer. The months you spent denying your hunger for him, the ways you explained away the pain of losing him as something akin to withdrawal, how you used those brief moments of happiness to justify your choice to leave, keeping you handcuffed to the idea that you would be better off without him… they all melted away.

You wanted him. You’ve always wanted him.

You step forward, pressing your body close as you look into those eyes that haunted your dreams.

“It’s how I want you to,” you whisper, the response to his question cutting through the night air.

There is no clear indication on who moved first but you find it doesn’t matter when you feel the press of Matt’s lips against yours. This kiss itself is delicate, as if he was careful not to cross any line, any boundary that you wanted to place. But you had no sense of restraint.

Your desire surged forward, free from the cage that you kept it locked in. You release your grip on his hand and your duffle bag, your free hands flying up to his hair, tangling in the silky locks as your body presses impossibly closer. Matt takes your desperation in stride, his own arms wrapping around you, holding you steady. Your tongue presses against the seam of his lips, silently begging for access which he gives. A whimper escapes your throat, the taste of him on your tongue only increasing your craving. You can feel Matt’s grip tighten in response to your sounds, his fingers crumpling the silk fabric of your dress as he swallows every desperate noise that he pulls from you.

Somehow, the kisses slow until your lips are falling away from each other. Matt keeps you near, your forehead pressed against his, the warmth of his breath fanning across your cheekbones.

“Let me take you home,” he murmurs and you don’t even think twice before your head is nodding in agreement.

The car ride back to his place feels both familiar and foreign. The air between you is still thick with need but those powerful emotions are lightened by the feeling of Matt’s fingers intertwining with yours over the center console, the way his eyes dart over to you, looking at you as if he couldn’t believe this was real. You were sure that your face conveyed the same thought.

He pulls into the driveway, the porchlight gleaming like a beacon in the darkness, calling you back to him. His grip around you is firm as he walks you to the front door, escorting you across the threshold and your eyes take in the sight of a house that you felt you knew like the back of your hand. The pillows on his couch were different as was some of the art lining the walls but besides that, it looked exactly how it did the last time you were there.

You hear Matt kick off his shoes behind you and you aren’t sure if it’s habit or muscle memory that pulls you forward, your own heels tapping against the hardwood as you wander deeper, your body guiding you to the staircase. Your hand wraps around the wooden railing as you begin your ascent to the second floor. Matt is close behind you, his own steps slow and measured as he lets you guide him up the stairs and to the first door on your right.

The master bedroom is more of the same, the smallest and subtlest of changes catching your attention as you walk into the room. You can hear the small click of the door latch finding home echo and you turn to see Matt leaning against the doorframe, his eyes observing you in the low lamplight.

Your smile is all the encouragement he needs to push himself away from the door, crossing the distance stretched between you in only a few steps. His hand lifts to cup your face, your eyes locking with his before he is capturing your lips in another kiss.

In the safety and security of his bedroom, it seems as if both of your desires were unleashed with a vengeance. His hands pull you closer and your own scramble on his body, wanting to feel every inch of him, wanting to recommit his shape to memory. You are pressed against him, pushing him deeper into the room, your feet moving across the carpeted floor. He lets you manipulate him, walking backward and holding you against him as if he wanted no space to separate the two of you ever again, be it three-thousand miles or three inches.

It isn’t long until his body is falling to sit on the edge of his mattress, his thighs spreading to pull you between them. His desire to have you close is reciprocated, your body moving on its own accord. Your hand mindlessly reaches down to grip the fabric of your dress, pulling the midi hem higher to allow you to climb into his lap without hinderance, your legs straddling his waist.

Matt’s hands grip you tighter, pulling you close, the movement of his lips against yours never ceasing. Your own hands return to tangle in his hair, the taste of him more intoxicating than all the bottles and glasses of alcohol that you drank trying to forget him.

If possible, your desire ratchets up another level and your hands fall from his hair, tugging off his suit jacket. You blindly reach for his tie, undoing the knot as Matt’s hands wander all over your body, grabbing your ass, pulling your hips down to meet his. A moan rumbles from your chest as you feel the hardness of him pressed against you, your lips falling from Matt’s. He doesn’t seem affected, his own lips moving to kiss your neck, his hands still tracing your curves.

You are blind with lust as Matt’s head dips across your collarbones and the top of your decolletage and you let your instincts guide you, your fingers finding the buttons of his dress shirt. Each clasp is unfastened deftly and as soon as the shirt falls open, your hands sneak underneath the fabric, pressing against Matt’s warm skin. You can feel the strength of his chest, the movement of his muscles, and the pounding of his heart underneath your palms as they glide up, pushing the material off his broad shoulders. Matt’s hands only depart from your body momentarily to rid the shirt from his frame completely before he is pulling your lips to his again.

Your hands drift back down to his abdomen and you can feel his muscles clench in response to your gentle touch. It’s another generous roll of your hips against his before your fingertips find the button and zipper of his slacks. You blindly undo them just enough that you can slip your hand beneath both the waistband of his pants and boxer briefs.

“Fuck, sweetheart,” Matt groans against your skin as your hand wraps around his length. Another rush of heat flows through your body at hearing the familiar pet-name fall from his lips. Your own lips twist in a smile as you give him a few languid strokes, relishing in the way his moans vibrate against your skin – the way he weakens for you.

The need to make him unravel more takes over as you begin to pull away from him, your body scooting back in order to dismount and fall to your knees in front of him. But before you could even drop a single foot onto the carpeted floor, Matt’s hands hold you firm, halting your motions.

“No,” he whispers, pulling you back to him. “Not tonight.”

You stare at him, your eagerness to have him in your mouth mixing with the confusion of why he was preventing you from doing just that. The immediate response he gives you is another kiss, his hand returning to rest against your jaw. When he does pull away, you hear his sultry timbre echo around the room.

“I should be the one on my knees worshipping you, not the other way around.”

His declaration burns through you, igniting a need that had been left untapped for years.

You were used to submitting to Matt Martin. You thought that you loved it. But now, here he was ready to bow to you and your desires and your will. That thought alone made a fire pool in your lower stomach, your lips pressing against his again.

His hands tighten against your skin, securing his grip on you as he lifts himself from the bed with you in his arms. The sensation of the smooth sheets pressing against your back is almost instantaneous, Matt’s lips falling from yours to retrace their previous pathway along your jaw, down the column of your throat and across your collarbones. You are about to lift yourself upright to pull the material of your dress away from your frame but Matt’s arms keep you pinned against the mattress. Instead, his hand simply tugs the fabric up, painstakingly exposing more of your skin to the cool air until the silk is bunched around your waist.

You feel Matt’s smile against your skin as his lips continue their descent, kisses placed against your stomach before he presses a whisper of one right above the edge of your panties.

“So fucking beautiful,” he whispers, his eyes darting up to look at you.

The only sound that your voice can manage is a whine but it’s enough for Matt, his elegant fingers hooking and twisting around your waistband. Your head falls back as you lift your hips to help him pull the soft cotton away. He tugs the material down your legs at a painstaking pace, lifting your feet to unhook the elastic from around your ankles.

You expect – no, you need him to return to the apex of your thighs. But you soon realize how much Matt meant it when he said he planned on worshipping you.

His hands guide your feet to rest on his muscular thighs as his finger unbuckle your shoe, sliding it off before repeating the action on the other side. He lifts your leg, your bare heel now resting on the back of his shoulder and you sigh when you feel his lips press against your calf. They linger as he makes his way back up your frame, a kiss pressed on your shin, your knee, your inner thigh.

It feels like reverence. It feels like devotion – to you, to the way you make him feel.

Your hand reaches down, tangling in his hair and gently tugging him closer to the place you needed him most. Matt lets you guide him and, after he brings both of your legs to rest on his shoulders, his arm wrapping around your waist, pinning your hips to the bed, he finally – finally – presses his mouth against your core.

A relieved sigh escapes your chest as Matt’s lips move, his tongue darting out to trace your folds. Your sighs turn to whimpers to moans as he continues his ministrations, remembering all the things that make your breathing hitch, your thighs shake. Remembering all the ways you come undone.

“Still so sweet,” he murmurs. “Still so desperate for me.”

He resumes his movements, winding you up in the most deliberate way. Your free hand twists into the sheets as he drags you closer to the edge, his tongue diving into your cunt before lifting to flick against your clit, the action causing your hips to jolt from beneath his strong arm. You swear that you are about to rip his sheets based on how tight you are holding them.

You’re too strung out to see Matt’s eyes lift, him noticing the death grip you have on the soft cotton covering the mattress. In your haze, you can feel the grip he has on your thigh loosen and depart but your mind doesn’t understand the reason until you feel his hand dancing across your fingers twisted in the sheets, silently coaxing you to release the fabric. You do and as soon as there is space, his fingers filling the gaps between yours, holding your hand tightly as his mouth continues to work its sinful magic against you.

Your orgasm hits you unexpectedly, your back arching off the bed as the tidal wave of pleasure crashes through your body, radiating from your stomach down to the tips of each limb. Your hand tightens around his so firmly that you believe you must be cutting off circulation. But Matt doesn’t seem to mind, squeezing your hand tighter in response. He moans against your core in response to the taste of your release flooding his tongue, the vibration sending another round of shudders down your spine.

The feeling of Matt’s mouth and hands leaving you ignites a new wave of desperation, one that is only partially satiated when he returns to hover over you, kissing you deeply. You moan into his mouth when you taste the tang of your own essence still coating his tongue.

“I can’t believe I forgot how good you were at that,” you exhale when your lips fall from his.

“I don’t think I’ll ever forget how gorgeous you look when you cum,” he murmurs, his head dipping down to your neck, his quiet assertation making you smile.

You let him press his lips against your throat, content to lay beneath him for the moment. But when you feel his hips roll against yours, his own hunger for you and your body not yet satisfied, another ache of need hits you. You pull his head back up to your face, capturing his lips in another feverish kiss.

Matt’s body hovers mere centimeters above yours, his hips pressed against you. The position makes it easy for you to hook your leg around him. Using what strength you had, you somehow manage to flip the two of you around, Matt’s back crashing onto the bed, your body now suspended above him.

You break the kiss, lifting yourself upright with a grin on your face as your hands trace over the ridges of his chest. His own hands dance up your thighs, sneaking beneath the hem of your dress to caress the soft skin around your hipbones. In the span of a breath, your fingers bunch the silken material of your gown, gathering it in your hands before you pull the fabric over your head.

The gentle sharp inhale of Matt’s breath as your body becomes entirely exposed to him is music to your ears. There is no stopping his hands as they continue to drift up your body, gliding over the curves of your hips and waist, dancing across your ribcage before coming to cup your breasts. He caresses the sensitive skin, his thumbs reaching to brush against your nipples causing your head to fall back, a soft plea for him to continue falling from your mouth. He listens, his fingers roving across your body, as if there was not an inch of skin that he wanted to leave untouched.

“Such a gorgeous perfect body,” he mutters, making the pool of desire within you fill again.

You lift your hips up only so far as to reach behind you, tugging at the fabric of his slacks and boxer briefs; a silent request. His hands fall from your body to pull the material down his legs and you feel him kick off the only remaining barriers between your bodies. You lean forward as you kiss him again, your hips sinking back down. A simultaneous moan escapes both of you as you grind against him, your arousal coating the soft skin of his shaft.

There is want and then there is pure unadulterated need and the latter is what takes a hold of you now. Your lips fall from his as you stretch your body forward, your arm reaching for the nightstand drawer, the place he used to – and now you hope still does – keep his condoms. Your progress is halted briefly by Matt’s head lifting to wrap his lips around your nipples, the action making another gasp sound your throat. You persevere, albeit somewhat distracted because of Matt’s ministrations, pulling open the drawer, relieved to see the box in the same place, thankful that not everything had changed.

But as you reach for one of the square packets, your eyes land on a stack of envelopes pushed against the other side and you swear you see your name scrawled across the white paper. You don’t have any time to linger on them as you feel Matt’s teeth gently nip at your skin, pulling your attention back to him.

“Please, darling, hurry up,” he implores, dark blue eyes looking up to you. “Need to get inside you.”

Who were you to deny him?

Your fingers grasp the foil, your body returning to its upright position above him. You rip open the packet, pulling the rubber from the confines and preparing it before you reach behind you, taking Matt in your hand. He throws his head back, his hair haloing around his face as you give him a few languid strokes before sliding the condom on.

There is no waiting, no more hesitation as you lift your hips up. Your free hand presses against the center of his chest for balance as you guide him to your entrance. You aren’t sure if it’s him or yourself you’re teasing when you slide the tip of him against your folds once, twice before you align yourself to him.

Your mouth falls open in a silent moan as you sink down, the stretch of him entering you delectably foreign and yet comfortingly familiar. Matt has a similar reaction to the sensation of your walls wrapping around him, his hands flying up to your hips, his grip tightening around you so much so that you swear you’re going to have bruises in the shape of his fingerprints the next morning.

“Fuck, darling,” he growls as your hips meet his, him bottoming out inside of you. “Still feel like fucking heaven around me.”

Your only response is a whimper as your eyes flutter shut, both of your hands now resting on his chest, using him for leverage as you begin to move. Matt guides the motion of your hips, helping you bounce on top of him, letting you grind against him, more sharp gasps falling from your lips as your clit rubs against the taut skin of his lower stomach.

“That’s it sweetheart,” he praises, fingers brushing against your skin as you ride him. “Take what you want from me. It’s yours to have.”

You whine, grinding your hips even deeper onto him, one of your hands lifting to tease your nipples. You missed this, the feeling of Matt hitting spots so deep in you, spots that no one else had been able to find before and since.

“God, I missed this,” Matt groans, echoing your thoughts, his eyes devouring your body. “Missed you.”

His words force you to open your eyelids and when your eyes lock, you almost cum simply from the way he is staring at you: like you were the most beautiful piece of artwork, like you were sculpted from the purest marble, crafted from the finest paints. Like you deserved to be hung in the Louvre.

“Matt,” you whine, his name falling from your lips in a plea as your movements falter against him.

“What is it, sweetheart?” he asks, his own voice strained and earnest. “What do you need?”

“Need you to fuck me.”

“Yeah?” he questions. But unlike the times before, he’s not asking in order to tease you, to be cruel, or to force you to beg him for a mere sliver of his attention. He is asking because he wants to hear you say it – wants to hear you confess that you’ve missed him and that you’ve been wanting him as much as he has been wanting you.

“Please,” you reply. “Please, I need it. I need you.”

Your words aren’t twinged with contempt, nor are they wretched from your mouth unwillingly. They fall from your lips because you mean them, because you want to beg for him – not the other way around.

A gasp is torn from your chest as Matt lifts himself up, his chest pressing against yours. His hands trace your spine, one burrowing into the hair at the nape of your neck, the other resting heavy on the small of your back. He pulls you to him, kissing you again and swallowing every noise that falls from your lips as he drags your hips into his.

You weren’t sure if it was because you were wound too tight or that you truly couldn’t comprehend what was happening because before you knew it, Matt had spun you around, flipping you once again so you were the one laying against the sheets. Your legs instinctively wrap around his hips and before you can moan at the feeling of him thrusting into you, your sounds are muffled by his lips again.

Matt eventually breaks away, one arm reaching back to grip your thigh, pulling one leg higher, the new angle causing every stroke of him to brush against that damnable spot that made you see stars. You cry out, your head collapsing against the bed, Matt’s name falling from your lips.

“Fuck, I missed this,” Matt mutters, keeping his steady pace as he watches your body respond to his movements. “Missed how beautiful you look underneath me. Missed this perfect fucking pussy. Fucking taking all of me like it’s made for me.”

His possessiveness makes you whimper, the high-pitched sound catching his ear.

“That right, baby?” he asks. “This cunt still mine, even after all this time?”

“Yes,” comes your reply, wrapped in a strangled moan. “I’m all yours. I’m still yours,” you gasp out, your hips desperately chasing his.

“And I’m all yours,” Matt replies, his head dropping down to kiss you again. “Let it out, sweetheart. Let me hear you.”

He doesn’t speed up, content to keep his languid pace, steadily driving you towards that cliff. The noises that escape you are incoherent, a jumbled mess of curses and pleas as your walls flutter desperately around him. It feels like the most deliberate and exquisite torture, a pleasure that you would welcome time and time again if he would let you.

“Come on, darling,” you hear Matt’s voice whisper in your ear. “Remind me how good it feels when that beautiful cunt cums around me.”

It is the quiet demand that has you falling off the edge, your muscles stiffening as your orgasm hits you. You can hear a faint growl rumble from Matt, murmured praise being spoken into your skin like a prayer as he fucks you through it, your legs trembling as they fall from him.

Matt’s movements finally increase in speed as he chases own climax, each move of his hips making you whimper. You tug his head to you, kissing him fiercely and swallowing his groans as he stills and you bask in the sensation of his cock pulsing inside of you.

Your labored breaths mingle as you stay wrapped up together, sweat drenched foreheads pressed against each other as you both collect yourself. Matt’s hand, the one that that had been gripping your thigh, lifts to brush your hair away from your forehead as his eyes appraise you. You can’t stop the way your eyes close as he leans in, kissing you once again, his tongue dipping into your open mouth and you whine as you feel him slowly pull out of you.

He places a gentle chaste kiss against your lips before lifting himself off you, walking around the bed. Your eyes track his movements, watching as he stops at the nightstand, the top drawer still open. There is a flicker of some emotion that crosses his face before he pushes the drawer closed before disappearing into the ensuite bathroom. You hear the water running before he returns, a warm damp washcloth in one hand and a t-shirt in the other.

Matt gently presses the washcloth against your skin, starting at your forehead and temples before descending until he reached the apex of your thighs, brushing away the lingering wetness of your release from your skin. He throws the towel into the hamper and holds out his hand, which you take. You let him lift your torso off the sheets as he hands you the t-shirt. He holds you steady while you slip the soft cotton over your head, the worn Maple Leaf emblem resting on your upper chest almost completely faded.

You collapse back against the sheets as Matt pulls on a pair of boxers before climbing next to you. His arms wrap around your body as he settles behind you, pulling your back close to his chest. Your own fingers lift to absentmindedly play with his as reality crashes back over you.

You aren’t sure what to say, if there even is anything to be said. You don’t want to ruin the golden halo of peace that surrounds the two of you but you knew you couldn’t just leave it like this. There were still too many questions unanswered, still too much uncertainty.

“What are you thinking about?” you hear Matt’s husky voice whisper from behind you. You sigh, wiggling in his grasp. He loosens his hold enough for you to spin and face him, his blue eyes soft as they take in the sight of you in his bed.

“A lot of things,” you answer, the response vague enough to let him decide whether to press on or to leave it at that. He decides to do the former.

“Like what?”

Your eyes lift to think, picturing the mess of thoughts in your head as you attempt to untangle each. The loose threads seem innumerable, too many to choose which was the most important to tug and which could be saved for a later moment. So, you just latch onto the first image that appears in your mind.

“Could I ask you a question?” you say, eyes connecting back to him.

“Of course.”

“When I was in your nightstand earlier,” you begin, carefully observing even the tiniest reactions that tug at Matt’s expression. “I saw a stack of envelopes and it looked like they had my name on them. What are they?”

There is a myriad of emotions that dance across Matt’s face, each more fleeting than the last before his features settle to what looks to you to be apathy or resignation. You feel your heart panic as his body turns away from, fearing that you spoke the wrong words – said the wrong thing. But it quiets when you watch him pull open the nightstand drawer, his hand reaching in. Your eyes follow his movements as he pulls out the stack of envelopes before spinning back to you.

“They’re for you,” he says, holding them out towards you. You take them from his hands, the bundle held tight by a rubber band. Your fingers flip through each of them, finding your name written on every single one. Your eyes dart from the paper back to him and you swear you see his cheeks tinge a lightish pink.

“My therapist suggested that I write you letters.”

“Your therapist?”

“Yeah. I started seeing him shortly after you left,” he explains, his hand reaching behind to awkwardly scratch at the nape of his neck. “Realized that there was a lot I needed to work on.”

“Why didn’t you send them?”

“I didn’t know your new address,” he tells you, the candor in his voice strengthening as he continues. “And I was too proud to ask. Besides, I wasn’t sure if you even wanted to hear from me. Thought you might throw them away if I did send them.”

You don’t respond, neither confirming or denying his assumption because in that moment, you weren’t certain what you would’ve done if a letter from him had appeared in your mailbox.

“What’s in them?” you ask, choosing to revert to a safer statement.

“Things I wanted to say to you. Things I never said to you when you needed to hear them. Everything I wanted to tell you but never got the chance to.”

There is a silence as you take in his declaration, your curiosity piquing as your fingers trace the edges of the envelopes. There is a desire to read them but also a fear, unsure if the contents would contain blame or apologies or gaslighting or regret.

“You don’t have to read them now,” Matt speaks again, his voice drawing your attention back to him. “You don’t have to read them at all if you don’t want to. They’re yours to do whatever you please.”

Something inside you tells you that it’s dangerous; that it’s a bad idea to open them. To trace over the words and strong emotions that forced him to put pen to paper. To allow Matt Martin back into the heart that you’ve spent years repairing. But when you feel his hand trace down the side of your face, his fingers twirling a strand of your hair, you realize that that line had already been blurred beyond recognition.

You didn’t know what a bad idea was when Matt was around. You had already done so many things that you shouldn’t have with him. What was one more bad idea compared to the thousands you acted on before?

What was this bad idea in comparison to one that brought you to Matt Martin’s bed in the first place?

Your mind swirls with all the drastic changes you had experienced in such a short amount of time. How different the world felt right now versus a few hours ago. How different the man sitting next to you was from the man you left in a Long Island bar two years ago. You felt as if you lived twenty lifetimes since you woke up. The past, the present, and every possible future tangled together in your mind, an amalgamation of all that had happened and all that could happen.

But you didn’t want to think about that right now. All you wanted to do was sink into Matt Martin’s arms and hold him close.

So, that’s exactly what you did.

You gently turn away from Matt, reaching up to place the stack of envelopes on top of the neighboring nightstand. There was still uncertainty whether you would read them, but the action of keeping them meant that you would consider it. And when you face Matt again, it seems that – for him – that was enough. This time, it is you who reaches out to intertwine your hand with his, scooting closer to him. He follows your lead, his body sinking into the mattress until you are pressed together, side by side. Your head comes to rest on chest, your eyes closing, the sound of his strong heartbeat echoing in your ear.

Right before sleep overtakes you, you manage to whisper to him the truth that your heart sang out, the sentence that you realized you couldn’t deny even after months of trying to do just that.

“I missed you too.”

The last thing you register is a soft kiss pressed onto the crown of your head, and encompassed in Matt’s warm embrace, you let the feeling of peace wash over you.

… but it’s gonna be alright. I did my time…

a/n 2.0: I did decide to leave it a little open ended because i just liked the feeling of it better. but if you want to know how what i think happens after this, i will direct you to this mashup

tagging the babes who made writing this so rewarding: @texanstarslove @comphy-and-cozy @smileysvech @laurenairay @dissonannce @cowboybarzy @cellythefloshie @provokedgoalie @m00nlightdelights @tkachvkmatthew @cixrosie @alwaysclassyeagle @geospatialharmony

#nicole writes #matt martin fic #matt martin imagine #matt martin smut #new york islanders fic #new york islanders imagine #nhl fic #nhl imagine #hockey fic #hockey imagine

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dccomicsbracket · 3 days

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Motivations:

Jaime Reyes (Blue Beetle)

My man has no idea what's going on throughout his entire movie. He's possessed by a homicidal bug from outer space. He is the official successor of a guy who REALLY wanted to be possessed by the outer space bug but couldn't get it past management and just decided to fake it till he made it with his billionaire budget. His family loves him. His suit is iconic. Sometimes his little outer space bug just goes "hey lil mama lemme whisper in your ear" and then it forcibly takes control of his body and tries to murder people. But also it loves him <3 I think he deserves to win, personally The writers were like "What if the teen superhero had parents that were alive and loving and not criminals" and proceeded to make the most wholesome guy. He power of friendship-ed a homicidal murder ai into being good. His darkest power fantasy is becoming a dentist. Lex Luthor tried and failed to turn him evil so hard he killed him about it, because that was easier. Also his costume kicks so much ass that the main thing that changes about it between redesigns is the eye colour. It's just that good. the 2006-2009 blue beetle run is not only my favorite dc comic, but one of my favorite comics period. it flips so many typical superhero tropes on their heads and does it well. jaime is an incredibly kind and well-written character and his relationship with his family and friends is so touching. Jaime is the perfect blend of goofy and sad, street-level and cosmic, kind and flawed. He was forced into becoming a hero by the weight of a legacy he didn't even know existed and a presence in his mind that would have him become a weapon. Before he even figured out his powers, he was hauled into space by established superheroes to deal with a Crisis and then left for dead for a year while his loved ones mourned him. His primary guides for his first solo were the hostile AI fused to his spine, a mercenary biker who only stuck around to see if he had to kill Jaime, and his normal parents. His greatest power fantasy was becoming a dentist because the power he already has over people's lives was crushing him. And yet, through all of that, his family and his culture and the mundane reality of being a teenager in El Paso were enough to keep him grounded. Read Blue Beetle 2006 and you will understand why Jaime is my son.

Mia Dearden (Speedy)

she's soooo cool and fun and silly. her boyfriend once cheated on her with emma watson! she's always wearing silly little y2k crop tops and baggy pants! she's a csa / sex trafficking survivor and lives with hiv! teenage girl character of all time!

#dc comics #poll #best of dc no batfam poll #jaime reyes #blue beetle #mia dearden #dc speedy

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blossomthepinkbunny · 3 days

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I think a much better structure for Hazbin Hotel would've been to focus solely on hell for the first season. Charlie would advertise the hotel and there would be guests looking to be redeemed. Without having to focus on Charlie convincing heaven of her idea, they could've spent a lot more time to get us to actually care about our main cast as well as introducing the citizens of hell in a more natural way. I know they would still have to work with just 8 episodes but it would've been much more focused if they actually had the hotel be the main source of story for season one. Right now I don't really care for the characters of HH.

Like Valeria was an ex-exorcist? Okay, I don't really know anything about her that would've made me assume she wasn't, except for the fact that she loves Charlie and from how Charlie was portrayed so far I assume she is going to forgive her immediately. Oh, everything is resolved within one episode.

Sir Pentious (presumably) died and everyone is sad? Well they didn't seem to even know him that well and they never gave us the impression that they cared about him. His progression wasn't even shown and we don't know what he did that actually redeemed him. I guess it's still kinda sad that he died. Oh, he is actually alive ... alright moving on.

Charlie doesn't have a good relationship with her dad? Well it's gonna be interesting how they'll make me feel for their relationship when Lucifer basically neglected her and when he's someone allowing the extermination of the people Charlie wants to save to happen. Oh, they resolved it in the same episode he first appeared in by saying he actually just really cares for her and he was just misunderstood and rejected by people. It's good that Lucifer apparently cares for his relationship with Charlie, because I don't.

The only character moment I kinda felt for was Angel standing up to Valentino (which one could argue was also pretty mishandled, but that's for victims of abuse to judge). And making the viewer feel bad about abuse happening is like holding a box of puppies in front of an audience and then patting yourself on the back for making them say "aww".

The main problem is that we never get to spend enough time with any of these people because the show also has to focus on heaven, Adam and Charlie still trying to pitch her idea. In my imagination, the hotel does fine and attracts guests. Not too many but still some sinners who could be used to show the variety of hell and it's citizens. They could also show that there are people down there who aren't literally the worst sinners you could imagine, who wouldn't have gone heaven anyways, even if it wasn't corrupt apparently. Each episode could focus on Charlie trying to redeem someone, with a second plot maybe focused on a member of the hotel staff. And when a character needs more time dedicated to them specifically (like Angel or maybe Sir Pentious), you could have the redeeming either happening in the background as a B-plot or just fully focus on said character. Lucifer could be more present with making his bad relationship with Charlie one of her driving motives to keep the hotel going or with showing him actually supporting the hotel, probably giving it more believability in hell. The Vees would be the main antagonists instead of Adam of season 1 as they are in hell and could be connected to the characters' struggles. Valentinos and Angels storyline would work when he and his team have already been established as well. Vox could be used more in his rivalry with Alastor and maybe Velvette could also have some connection to the main cast (maybe with Valeria or Nifty or just in general with citizens in hell). The Vees could be used to flesh out hell as a place more and also the characters of course. And Adam wouldn't really appear in s1 but could be mentioned here and there, possibly with Lucifer making remarks like: "Adam isn't going to approve of this" or something like that.

The end of season one would maybe feature Charlie and Lucifer finally making up in a way and the end of certain character plots. There could also be a final showdown with the Vees and the character stories they impact could be solved in a way. The real last scenes could be that the hotel has reached a milestone, like maybe Charlie redeemed 10 sinners now and that's reason to celebrate. But as the sinners party happily, finally believing that theres a way they can resolve the issue without needing a war, the scene cuts to heaven and we see Adam looking to the sinners filled with hope and his face just makes it clear that he isn't going to let them get away with this.Adam would then be the main antagonist of season two.

Hazbin Hotel really just has a problem with the plot being really overstuffed. And even my version might seem like a lot to cover with just 8 episodes but it could definitely work if done right. A lot of stuff could be cut, like Carmillas whole arc, Charlie talking to Adam and visiting heaven, Valerias backstory reveal, introducing Sera and Emily, Building the army and the fight at the end (probably other stuff that I don't remember now). Carmilla could be introduced in s2, when heaven and the exterminations are really in focus. Velvette could still bring up the dead exterminator (possibly to show that even after the Vees were technically defeated they still exist and cause troubls, unless they were killed in the s1 finale of course). Mimzy and Rosie could just be cut fully or brought in in other ways. Maybe Charlie wants to redeem a really greedy sinner and so Alastor suggests that she visits Mimzy to really find out what makes someone so greedy or something. Or in season two, after the date of the exterminations gets moved forward, more and more sinners come to the hotel out of fear of dying. Charlie would want to know how to be a more respected and direct leader without coming off as mean and so Alastor introduces her to Rosie. Then they could still have the big cannibal army at the end.

These are just some thoughts on how the show could be structured better and make the story feel less crowded. This would obviously go hand in hand with some character rewriting.

#hazbin hotel critical #hazbin hotel criticism #hazbin hotel critique #hazbin hotel rewrite #vivziepop critical #vivziepop criticism

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jenchan-writingmultis · 1 day

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This was for the best, right? (Vil x AFAB Reader)

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Genre: Heavy angst/ No comfort

Pairing: Vil x AFAB Reader & One-sided Rook x AFAB Reader

A/n: Hi! So do you guys recall the idea I had with Vil x Reader angst? So this is it! If you want to know about it first, I’ll link it (here) I hope you like this one, I gave my best effort on this, hopefully, it fits Vil, I love him so much.

Credits: The design was made by me in Canva and the art that was used is all from the Official Twisted Wonderland Cards. The line breakers are from Kaomoji dividers!

Warning: This is ANGST NO COMFORT! Panic Attacks on Vil’s side, Breakups no reconciliation, misunderstanding and Insecure Vil, relapses of Trauma on Vil’s side, talking bad about Reader’s appearance, although vague it still is there.

!PROCEED WITH CAUTION! Masterlist

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Sypnosis: Your face got leaked throughout social media when you went to have a date with your boyfriend Vil. It made him hate his reputation; he would understand if people bashed him instead, after all, he wouldn't let those words affect him, he's more worried about you, you're not used to the media watching you, having you be seen with him by paparazzi. He kept thinking of ending things with you to protect you from the backlash. ⋅•⋅⋅•⋅⊰⋅•⋅⋅•⋅⋅•⋅⋅•⋅∙∘☽༓☾∘∙•⋅⋅⋅•⋅⋅⊰⋅•⋅⋅•⋅⋅•⋅⋅•⋅

He is usually unbothered by the fact that he gains hate often, he plays villainous roles, having to only reach till halfway or even before the story’s conclusion. It was normal for people to threaten him just because his character did something horrible to the main character. At least he is aware of how well he performed in acting by how despised he was. However, what he wasn’t prepared for was you being the one gaining hate.

People are hypocrites, they cuss him out and throw the worst insults they could think of towards him, and at the same time, they view him as a perfect human who deserves someone “better for him”. He didn’t expect that his selfishness would get in the way of his relationship with you just because he wants one normal date outside of school but when one of his paparazzi caught a picture of him with you out on a simple date in Pyroxene. The picture showed your face fully without any filters, those uncouth journalists milking his fame with their horrendous illegal articles; anything to gain a higher footing in their industry than anyone else.

When he found out about the article, you two were cuddling in Pomefiore in his bedroom. He had a separate, massive bedroom since he was the housewarden, watching the film that he was recently cast in. As usual, he was given the role of a villain, it was the same old same old, except this time, the villain won, and it was satisfying to see him reach the end. He didn’t tell you though, so while you lay your head on his shoulder, watching; complimenting his looks and joking about how you’d date him even if he was that crazy.

He loves your little antics, you’re the only one who had an odd mind falling for the roles he has. “You have a peculiar taste for characters sweetheart” He wrapped his arm around your shoulder, pulling you closer while you giggled.

“Funny how I’m dating you” You cuddled closer to him, what you said earned you a playful glare. He was about to tickle you as punishment, but his phone suddenly vibrated, showing the name of his manager, he went to kiss your forehead before he untangled himself off you; “Give me a second, I’ll take this call real quick” he informed you which you gave a nod, letting him out of the bedroom and to his bathroom.

"What is it?"He examined himself in the mirror, fixing his hair while his manager spoke, "Vil, check what I sent you, it's a link." Vil glanced at his phone and clicked on the article, wondering what it was, he waited for a bit, and as soon as it finished loading his heart drops.

“Famous actor Vil Schoenheit caught dating!” It was a stupid title, but he didn’t give any thought about It, fearing for the worst he scrolled further, finding your face unblurred on it. “What is the meaning of this?” he frowned, gripping his phone before his manager answered.

“I’m not sure how they found out about the café you and your lover frequent but I’m trying to track down the owner of the article and threaten them with a lawsuit, but with how the media eats up everything, I’m afraid the damage has been done” Vil could hear rustling from the other end his manager taking out which he thinks is paperwork, most likely about the process of lawsuit, he was growing restless as he looked at how many comments and likes did the article gain. He didn’t even notice that his Magicam was being blown up by “fans” questioning him for his taste, and criticizing you.

He was starting to feel chills around his body when he continued to investigate the whole thing, Vil was close to having a panic attack, gripping the edge of the sink. He tried to calm himself down, remembering what his father taught him.

“Deep breath in, deep breath out” he recalled, causing him to loosen his grip a bit and relax. A knock on his door snapped him out of his thoughts when he faintly hears you from outside.

“Vil? Are you okay? You’re taking a while there” you asked which he straightened himself up, composing himself before looking at his phone, who still had his manager on call. “I’ll have you deal with this; I need to go.” He walked to the door opening it after his manager agreed and ended the call.

“Sorry, it was just a minor nuisance at work” He smiled at you, he was a good actor but when it comes to you sometimes, he can’t seem to lie. “Are you sure? You sounded pretty agitated when I went to check on you” You touched his hand, entangling your fingers with his, which made him sigh.

“it’s…” he hesitated for a moment; does he tell you? He can’t drag you into all of this, he was planning to have it stay hidden till the article was gone, but at the same time, you’re bound to know about it once your friends find out and question you about it.

“Can we talk?” He finally gave it, gazing at you with a mixture of worry in his eyes; how could you say no to that?

When you found out about the article, Vil was worried that you’d be upset at him, not once did your expression change when he was explaining it. He didn’t expect you to smile and kiss his cheek, telling him that “it’s okay, the media will die down on it, at least if they found out, they won’t bat an eye if we go on dates more publicly, right?” you told him.

He was amazed with how well you handled the news; what about the possibility of receiving backlash? No, actually you both were receiving backlash already. “You’ll have to stop using social media for a while and deactivate it just to be safe” he warned you, looking at you for any signs of distress, he was worried you were just hiding it, you’re not someone who’s made to handle the eyes of strangers, he thinks you might not even understand what it means to have your face be doxed by media.

"Darling," he said, enveloping you in his embrace, which you gladly returned. He said, "Listen, this is the media we're talking about," stepping back to look directly into your eyes. You'll be receiving insults left and right, and I worry that if your friends choose to drop you because of our reputation, it will negatively impact you. I'm capable of managing myself and safeguarding you from the public eye, but what if this also concerns your friends?" he knew that the possibility of your close friends dropping you for something trivial like this was unlikely to happen but there’s still a possibility.

“If they drop me for something so stupid, I guess they don’t deserve to be my friend,” you said firmly, “Vil, I don’t mind this, but it seems like you’re bothered by it” You pointed out, touching his face, it was true, he is bothered by it, he’s scared of the outcome, he’s afraid that every day when you go out in public, people will try to hurt you or coerce you into doing something you don’t like.

“Once the article is down, it’ll die out” You comforted him, noticing that his breathing seemed to start being uneven. Was it really going to stop once that article gets taken down? There might be people who saved that article and reposted it.

In the next few days, you two would often just stay within school grounds, Night Raven College is big enough for you two to roam around and have your usual dates; Despite his frequent work schedule and dormitory maintenance, he still made time to have meals with you. During those times, everyone seemed to keep testing his patience, when he was on set, his unprofessional coworkers kept festering him about you, and when outside, he felt restricted, not being able to walk freely without eyes catching him, so he was advised by his manager to use his car to go back to school and work. He kept his social media muted as well; he couldn’t scroll around Magicam cause every article in those past few days has been nothing but hatred towards you.

“That woman looks so average, what the hell did Vil see in her?”

“Honestly, I would even accept if he’s gay for Neige, whenever those two are together they look so cute!”

“She looks like an extra://”

Comment after comment of users trashing your looks, your whole being even without knowing you.

It angers him, so for the sake of his mental health and yours, he made sure that you also kept your social media muted, although often, he saw you scrolling on it, reading the comments, or just chatting with your friends.

He doesn’t understand why you do it, it frustrates him a bit when you do, but he couldn’t tell you to just delete social media entirely, he’s not toxic.

During lunchtime, he was late to meet you, rushing through the cafeteria, he found you with Deuce and Ace, chatting away. He was going to greet you till he heard what Ace said.

“Hey, aren’t you gonna stop this act?” he munched on his egg sandwich while Deuce looked at Ace like he had just grown a second head.

“What the hell are you talking about Ace” Deuce said before Ace glared back at him. “I mean! Being unbothered by whatever nonsense Magicam’s got on. You have your face everywhere and people are talking smack about it!” He pointed out in which Vil couldn’t even see what your expression was right now. “If I were you, I’d confront him as to why it doesn’t die down at all,” Deuce wanted to hit Ace that time, but it was true, both your friends were confused as to why it continued to circulate.

“You don’t have to listen to Ace” Deuce paused, not knowing where this could possibly lead to what he meant. “It’s okay, I understand the concern.” You voiced out, placing the fork down, fiddling with your fingers, “It does affect me, but It’s not Vil’s fault that It got way out of hand.”

Vil frowned, hearing that, so it did affect you, why didn’t you tell him? Was it because of his incompetence? He thought about how many times you told him that it was okay, that you didn’t mind it. He knew that the article was stupid, but the evidence was evidence to journalists, and that caused you to be in the middle of the crossfire between him and his “fans”.

Was it worth sacrificing your peace dating him? He smiled bitterly to himself, how stupid of him to have these kinds of thoughts. He looked at his phone, he was going to send you a message that he was in the cafeteria but decided to go against it.

“I don’t think I can make it. You can go eat.” He sent the message before leaving the cafeteria and going back to the dormitory, he needed some time for himself. When he reached his living quarters, he sat down on his bed, noticing the way the curtains were covering any light coming inside. It was like the state of his mind currently, he didn’t feel like doing his daily routine today, which is funny, if he didn’t push himself to keep a perfect image, he would be nothing but average; but if he did look average, would that give both of you the pleasure of living a normal life?

He scoffed to himself, he can’t just throw his career away, he needs it for your future; both your futures, he stood up, grabbing all the necessary cream, face powder, and other stuff for his face, but the moment he saw himself, looking tired, he stiffened up. Will there be a future where the two of you would be together?

Vil didn’t realize that he started to avoid you. His bedroom is inaccessible, you would knock on his door, but he wouldn’t confront you. Just waiting till the knocking subsided and you were out.

He still showed up to needed House warden meetings, or event planning, he did his duties as usual, he just didn’t do his duties being your boyfriend.

It was as if his insecurities when he was younger were relapsing whenever he thought of talking with you, was it okay to talk to you right now? He still thinks it’s not the right timing. He isn’t his usual self right now and he doesn’t want to risk doing anything bad.

However, it breaks his heart to see the sorrow in your eyes when you meet him and to see him neglect you. He was aware that the distance between you and his unwillingness to communicate about the situation was making your relationship unstable.

After three days of no contact, he was on top of Pomefiore’s garden, he missed you dearly, he gazed down to see his dormmates having tea under the recently renovated garden, then he noticed someone familiar within the garden, focusing his eyes on it, it was you! You looked… happy?

That was the smile that you usually only reserve for him, what’s going on? Vil ripped his eyes off from you, only to notice Rook Hunt, touching you the way you would with a lover, giving you a gaze he never saw from Rook, but he knew what that was.

Rook liked you, and you two looked so perfect for each other, his hand touching yours, having the time of your life, without him. His hand clawed the railing of the balcony, his eyes blurring as he walked away, fearing that he might fall if he ever passed out. His heartbeats were the only sound he could hear, aside from the static his ears were hearing.

“Breathe.”

He fell back into his bedroom, feeling his whole body shiver as he grips on his arm, numb to the pain that his nails were digging into his flesh. Cold sweat trickled down his face, he didn’t know if he was even breathing or not, his brain foggy, like an impending doom was going to happen if he once tried to “breathe.”

Vil ended up passing out, and unfortunately, the moment he woke up, it was already 5 am, he jolted awake, standing up, hearing a continuous knock from his door, he groaned his head throbbing when he moved to the door, opening it, not expecting to see the person he least wants to see.

“Roi de Poison” Rook greets him, smiling brightly at him, Irritating. “I noticed you haven’t gotten up and gone to work yet, did you take a sick leave?” Rook continued, his voice filled with worry, he was about to fix the hair covering Vil’s face before he got his hand slapped away, startling him, he noticed the way Vil’s eyes darkened a bit.

“I’m fine” Vil affirmed, groaning a bit, he pinched the bridge of his nose as another headache hit his head again. “I’ll get ready, for the meantime, please take care of the dorm in my absence” He continued, replying curtly as he slammed the door shut before Rook could even say anything, He was sure that Rook would do as he says, if he didn’t, he’ll find a new vice housewarden.

Vil was already late for work, plus his disheveled look was barely noticeable but his manager noticed the slight imperfection in his looks. She walked up to him, fixing the sleeves of his outfit. “You’re late Mr. Schoenheit” She buttoned the sleeves, waiting for a response from Vil, who just sighed, “I apologize, something came up, can we start?”

You were getting worried, Rook went to your dorm, telling you about the state of Vil and that he was worst for wear, you decided that this time, you were going to visit, it’s been dragging on for too long, and the avoidance of your lover and the media hurting you. You need to do something before your relationship reaches a breaking point.

When you arrived at the modeling agency where Vil works, you were graciously allowed in. You were familiar to those at the agency; some supported you, while others did not. However, the only support you needed was Vil's.

The moment you stepped inside the photoshoot, you saw Vil, working with another model, he looked gorgeous as always, although it seemed that he was tired; it was unusual for him to be in a state where it was obvious.

The manager noticed you before she ushered you further in, just to get nearer where Vil could see you, and Vil froze, stopping the shooting when he saw your face.

“I’m going to take a break,” he said to the crew members, seeing you, his gaze remained unfazed, “Let’s talk on the lounge” he murmured, walking past you.

You didn’t know what else to do but follow him, understanding that Vil wasn’t feeling well. The moment the two of you were alone, he went to give you apple juice, the one that Epel’s family sells, you give a gentle smile to him, but he didn’t reciprocate. It made your heart ache.

“What do you need?” he asked, sitting down on the opposite side of you. Reluctant to look at him, you fixed your gaze on the apple juice. “Are you feeling alright?” you asked, which made Vil chuckle, “That’s a funny question Y/n”

“I just wanted to know, You’ve been avoiding me for a while and-“You were cut off by Vil who placed the half-empty apple juice on the table. “I just needed time to think, plus we agreed to lay low” He answered, which frustrates you “Vil, I heard from Rook that you turned up late during work, that never happened,” you said, wanting to touch his hand, but he pulled it away, his eyes showing a trace of betrayal.

“What?” he asked, heart breaking as he looked at you, “Rook told you?”

“Of course he did, he’s a close friend of yours!” you protested, feeling a sense of desperation when Vil kept rejecting you, for the past few weeks, or months? You don’t know, but it’s been so long since you two last saw each other and stared at each other for more than just a glance, now you’re on the receiving end of his glare?

“You…” Vil murmured, before he finally let his body relax, “I think we should break things off.”

“What?” you gasped, gripping on the apple juice a little bit too hard, “Vil- “

“Why?”

Why? Vil wanted to answer why, there were plenty of reasons why, you two were just way too different, and the fact that if he pursued this relationship further, it’d hurt both of you more. It was clear that Rook liked you and you liked Rook, what is there to continue this relationship? Plus, the media will continue to see you as inferior, this will continue for a lifetime, and no matter what he can’t see why and how your relationship with him will continue without it getting toxic. He finally understood that he is way too much for you, his feelings would slowly wrap you around vines that contain poison, HIS poison. He was thinking of the future, and he can’t see it going beyond the challenges you two face.

He eventually responded, "I lost interest, I’m sorry, we both should focus on our careers first” He lied, not looking at you as well, you both were too hurt to even gaze at each other. You didn’t move or talk, so he decided to stand up, fixing his attire and looking cold. “I’ll be leaving now, hopefully, we can put this all behind us, I’ll have a taxi be ready to get you home when you’re ready.” he said, his heart aching, he wanted to hold you, but he stopped himself, “Just talk to the manager when you want to leave” he continued, turning around before leaving the lounge.

The moment you left, the manager went up to him excitedly, he didn’t feel like celebrating at all when he found out that they found out who the journalist is and are now filing a lawsuit against them; at least on a positive note, you were out of the picture, out of the prying eyes of the media.

This was for the best, he thought to himself, feeling numb while he felt his chest tighten when he went back to work.

Word Count: 3418

#twisted wonderland x reader #twisted wonderland #angst #vil twst #vil x reader #vil x mc #vil x yuu #vil shoenheit x reader #vil schoenheit #angst no comfort #angst no happy ending #rook x mc #rook x reader #twst rook #rook hunt

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bestworstcase · 11 hours

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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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