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mysteryanimator · 3 months ago

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Breaking down Castlevania Nocturne Season 02 - Episode 08 “The Devil is Easy to Cheat” Almost Shot-By-Shot

Previous shot analyses: S01E04 - Bedroom scene / S01E06 - Gulity Men to be Judged / S01 E08 -Breakup

Word count: 8.2k (I'm sorry it keeps getting longer)

We have returned once again to “mystery uses their media production and analysis skills, along with their hyperfixation on storyboards to talk about gay vampires, their other hyperfixation”.

For people new to my breakdowns:

If I skip any shots, its because I'm limited to a 30-image limit and some parts just won't have images BUT I will try my best!

I highly advise you to rewatch Nocturne after reading this and make your own thoughts because while this is an analysis, it also comes through my own lens. How you engage with media will be very different to me, however, there are principles that are followed to elicit certain types of emotions from an overall perspective. I'm here to break down those film codes and artistic principles :D I will be drawing over some of them, while others will be moving.

These are just observations based on my background in media production and analysis (I’ve been out of the field for a bit but trying to strengthen it back since it is important for storyboarding). Despite all of that, this is for fun, which is why I will be writing a lot more casually (which therefore specific interpretations may bleed through), so please don't take this too seriously! This not only helps me out as a student to become aware of how stories are put together and, in turn, how to apply them and make my own. It also allows me to impart that excitement to you and helps everyone to understand why they might be so drawn to a particular scenes (me included)! Shot choices matter, especially when you have only 12 episodes, a deadline, a budget, asset restrictions, and so on. It all has to count. Everything matters.

Passionate creatives care and there is more than "the curtain is blue just because." The times when things slip under the radar and are put there just because are mostly due to executive decisions, budget restrictions, deadlines and a lot more that we don't get to see from an audience perspective. I think in this day and age, people do forget about how intentional the media they consume is and Castlevania is choked full of carefully curated scenes.

With that out of the way, let's talk about gay vampires !!!

[Can't believe we're starting with no image. I can't show it due to image limits, I'm saving them for other scenes. Feel free to follow along on Netflix!]

After Edouard and Annette's conversation, we have shots of buildings. This is to establish a jump in time and a new scene occurring! Showcasing this large building is important because we cut to Olrox carrying Mizrak after this, and once you mentally pair that with this large building, it'll sink in that Olrox has been walking with Mizrak in his arms for a while now. We do not know what happened from the time we saw Mizrak walking side by side with Olrox to now, but we know he's getting worse for wear.

Then we get a close-up of a window!! Mizrak and Olrox scenes in season 01 were either introduced through pulled-out establishing shots that contained a lot of greenery (the courtyard in ep 03 / the breakup hill in ep 08) OR via windows of the inn. This gets continued here.

We get candles too and fire symbolizes life and we've already had Olrox state how his previous lover "burned with such passion". These candles supernaturally light up, which builds to foreshadow the transformation Mizrak will have as he goes from dying to being "alive" through supernatural means.

The following midshot purposefully cuts off their faces to continue to build suspense. Having a lack of face means we're unable to connect to them which is intentional. It makes us yearn to connect deeper because we can clearly see something is absolutely wrong. Mizrak isn't walking. This is super uncharacteristic of Mizrak and doesn't align with what we saw last.

[omg yay an image]

This is a midshot in which the camera moves from top to bottom/bottom to top. This type of camera movement is called a pedestal, though I have seen it be called a boom/jib. For any general camera movements, whether that be the aforementioned pedestal or a pan, the camera has to be motivated by something in the scene to move in that direction. So what is the motivator for this specific camera movement in this shot? The order of who we see in the shot.

It begins with Mizrak because now we finally have a clear view of him and he practically encompasses most of the screen because he's horizontal and how we view shows is with a landscape screen. Immediately the first half of this shot tells us two things. It's Mizrak and Mizrak is dying. It's something we need to immediately pick up on because the camera begins to move up. After all, a particular face is cut off. It's Olrox's. The second part of this shot has us reveal it is Olrox who is carrying Mizrak and what expression he's making. Dividing up our focus and moving the camera makes it less overwhelming to us as an audience to engage with this scene because it lets us focus on one thing at a time and builds up a shock factor. This is helped by the fact that the first focus point is horizontal, then when the camera moves up to shift focus, Olrox is dead center vertical.

This also feels like a reference to La Pietà. It is a sculpture of Jesus and Mary depicting the Seven Sorrows of the Virgin Mary. La Pietà depicts the sixth, John 19:39-40. Jesus is being taken down from the cross and put into Mary's arms. While the death is over, Mary still grieves the loss of her son. What follows after this is the seventh sorrow as she watches Christ's burial waiting for his resurrection which feels very in line with what's happening right now.

[no image my bad sorry for the long wall of text]

Next, we have an extreme close-up of Olrox's eyes.

Eyes are a massive thing within this scene alone, and this shot here helps to establish his current thoughts and feelings because they take Olrox's eyes away after this. We no longer become privy to his inner world. Eyes are by far one of the easiest tells of a character and their current thoughts. Eyes are the window to the soul. Mizrak also in previous scenes has a ton of focus and close-ups of his eyes because he is such a guarded character but his eyes do tend to betray him. The exact same thing can be said for Olrox (his eyes betray him with Drolta when he lies about not seeing Belmont and co, won't lie, it's really funny).

One thing to note is the asymmetry of his hair, which never usually falls in front of his face. This is where I bring your attention in season 02, Drolta and Ezerbet questioned what Olrox has sacrificed. What or who he would die for. His hair has fallen in front of his face VERY MESSYILY in that instance as he looks down in deep thought. While there are other instances of his hair in front of his face, the example I brought up is personally the strongest call back (however I can be totally wrong and there can be more!)

Not only big wide expansive shots are used to establish new locations, close-ups do! They're usually always followed up by much wider shots, however. The purpose here is to show Olrox entering a new location, and moving from the hallway to the bedroom. This is super important to establish because this is the final leg of the journey they both have to traverse. We need to see them get from point A to point B or else it does not feel as impactful. The silent moments matter heavily for this type of scene because they say a lot.

Also, I'm a sucker for these types of compositions/lighting, it's actually one of my favorite shots in this scene. The doorway literally frames Olrox into a box and it keeps him centered in the shot. As he walks through, it is purposefully dark around him and the only light that peeks through is from behind. Backlighting a character not only helps to distinctly separate the character from the background, it often gives a halo effect which is associated with the divine and otherworldly. It can establish how powerful a character is. HOWEVER, Olrox is walking Mizrak away from the light, which can further strengthen Mizrak's descent into vampirism as it can be considered turning away from God due to the inability to accept human ailments and death.

This is a wide shot to establish the interior we're in. It's absolutely used to contrast the much smaller inn room in season 01 episode 03. The beginning of their relationship versus the end. The camera here uses a truck movement (the camera moving side to side, in this case, left to right). Its intention is to follow Olrox and draw our eye towards the bed in this scene, as this is where the rest of the scene will take place.

Now, if you’ve read my previous analyses, you will know how much talk about Olrox holding Mizrak from behind. It’s a key characteristic, it is so important to see their mental states as characters.

Olrox right now is holding Mizrak from behind. Except this time, Mizrak is accepting it.

The first time Olrox holds Mizrak from behind is he tries to persuade him out of death. The second (and third) time Olrox holds Mizrak from behind is to forcibly tear him away from death. This is the last time Olrox holds him from behind because he’s actively dying. though in this instance, instead of persuading or forcibly trying to pull him away from death- it’s him ending up gently carrying him away from death. Or one could even argue, that Olrox is actually gently taking Mizrak towards his death instead of preventing it. Death to his human self and his man-made chains.

While Mizrak never explicitly states “yes bite me turn me into a vampire”, and the room for ambiguity is there, there is an acceptance from Mizrak that begins the moment we see him in Olrox’s arms. Time and time again, we have seen Mizrak constantly fighting against Olrox, either by physically pulling away or saying the most horrific things known to man. This is entirely different. He’s being carried the ENTIRE WAY to the bed without fighting Olrox. His posture is a lot more open and exposed towards Olrox. He in this moment is giving himself up to him.

Why another wide shot? For the boxes lets gooo, Myst loves boxes and frames.

This shot uses the setting to frame Olrox and Mizrak. The bedframe acts to box them in and create a small space just for the two of them outside the view of anyone else. The background behind them showcases the hallway Olrox traversed and its length emphasizes the distance Olrox has been walking just for Mizrak to lay and rest.

By the way, why I'm wording what Mizrak tells Olrox as a confession later in this analysis is because of this shot. This deeply reminds me of the Anglo-Catholic practice of private confessionals. It feels like Olrox is here as a higher judgment, sitting and listening to Mizrak's confession of penitent. The boxing-in of the shots and how private it is begins to deeply feel like a confessional.

A close-up! While an extreme close-up is where the creative behind the shot forces you to focus on one thing, a normal close-up is usually aimed at the face and intended to communicate what the character is feeling or their current headspace with a whole facial performance. So, as you could probably surmise from this shot, what the artist intends to communicate a few things:

Olrox putting him down (neck area)

Mizrak breathing raggedly (mouth)

Mizrak opened his eyes to look at Olrox (top of face)

Mizrak is SO GREY, he lacks proper colour (overall face)

So for all of that to be seen, a close-up is needed.

Ok, why punch into an extreme close-up here if we already have a close-up of Mizrak in the exact same pose? This one solely focuses on his eyes. As I stated with Olrox's eye close-up, eyes are a massive thing in this wholeee section, so now it's Mizrak's turn for a eye close-up. Especially since for the remainder for this, Olrox does not show his face and Mizrak basically communicates for the both of them. The way Mizrak talks and looks at Olrox is an indication of how Olrox could be feeling.

Also, how can you not have an eye shot paired with the line "You've seen the devil, then, waiting for me." This falls into place really well.

This midshot does a lot of things, more importantly, it establishes where characters are in the scene because, for the rest of this entire section, it is basically all close-ups. This helps to ground where everything is because later on, Mizrak gets panicked. In turn, the camera and timing match that, therefore we can begin to lose our sense of where we are WHICH is a good thing to sell that idea, however, we need to establish where everything is before that is done.

This also establishes Olrox is just never going to be showing his face until the very end because now the camera has locked itself to this side of the characters.

Another thing is also how Mizrak's wound is practically in the middle of the shot. It is more clearly obvious that the wound is straight in the middle of where the cross is on his uniform. Mizrak in a funny not so funny way, is being martyred. He is dying refusing to give up his faith or beliefs. While he is defined by his religion because that's a core aspect of his character, he actually mostly believes in the people. He believes and cares strongly for characters like Maria who neither of them politically align together, but he makes sure she gets to her house. He wants her safe.

This midshot is very important because while Olrox's face is purposefully obscured, Mizrak's face never does. What's interesting is that Mizrak is looking directly at Olrox as he braves his confession of weakness. Not only is Mizrak's eyeline just up toward him, but Olrox's body is just purposefully included in this shot. When Mizrak continues to confess his fears further into this scene, in the back of our minds we have the fact Olrox is intently listening the entire time even though he is shunning himself away from the audience. For the next three shots, he literally disappears from the audience's perspective, but not from Mizrak's eye line. His current expression when listening to him is literally just for Mizrak to know.

These are all extreme close-ups! The purpose of this is to directly have you focused a very specific reaction and emotion! The main focus of the first shot is to solely focus on Mizrak's eyes looking directly at Olrox, then him looking down and away from his face before getting scared literally the moment his eyes move off him and he looks back up at him. Multiple different reads of the situation can be applied here since why Mizrak looks down is not exactly stated to us. One thing I will say is that what motivates a character to move their eyes down another character's body is to literally check their body, either for attraction or concern.

Mizrak is dying here though. Why does his eyes drop? It can be for a multitude of different reason but the most likely is the self-actualisation of the eternity of torment.

What's important too is that in the second shot, Mizrak's hand shakes before stopping. We need to see that. Especially paired with that specific line because his shakes stop after saying "no release", which is basically a visual contradiction. Having something visually stop while having a dialogue about unending pain and suffering. To me personally, this hand movement can read as two things, though there are definitely more interpretations, these are my two takes based on different focuses.

Tremors are caused by fear, but he however can control them which is why it stops. This is his last attempt to feel like he has control over his situation. This is based off the fact the line contradicts the action taking place.

This isn't him shaking, this is him fighting himself to reach out to Olrox physically. His hands can be read as clenching and unclenching rather than tremors. This is based off the idea of how visually Mizrak is alone in these shots and Olrox's presence in a is absent (but can be sensed he is outside of our line of sight).

Hey so, fun fact, this has happened before. Extreme close up of hands/eyes whilst they talk about demons/hell. BOTH SIDE PROFILE TOO.

Again, hands and eyes are key indicators of how characters can feel in the moment, and the character Mizrak uses this to great effect since it pairs very well with his guarded persona.

Also oh my god look at him being so full of colour compared to now.

A close-up! It is probably one of the most vital shots in this entire sequence (alongside Olrox's iconic line). Mizrak cries A LOT in this season, but here, he purposefully doesn't try to hide or turn away- he admits this while staring directly at him.

An important detail is that his dialogue of torture and agony are all solo shots. Alone. This is on purpose. This confession of fear is also visually alone, but he calls out to Olrox by name in this solo shot. What this does is that it gives permission for Olrox to re-enter the scene, hell, you could argue Mizrak is begging Olrox to re-enter the scene. Technically, Olrox has not left the scene because Mizrak stares at him the entire time during his confession, but Olrox has left the audience's line of sight, which makes Mizrak's shots feel that much more isolated and alone.

This is a personal take, but it also has evidence. This is one of the bravest things Mizrak has said thus far in the entire series. His bravery and strength should not be measured by running into battle to protect the ones who cannot protect themselves- his measure of courage and strength lies in being vulnerable and admitting weakness. I actually discussed it in my season 01 - episode 04 analysis, so the groundwork for shielding vulnerability only for it to be opened up has been there from the very beginning. There is build-up and now it's being released all in one go, which is really interesting considering the fact Mizrak talks about agony upon agony with no release, but here, he's releasing all of his emotions.

Mizrak has also said Olrox’s name about three times now. That is the exact amount Olrox said Mizrak’s name in the last season. Funnily enough if you squint hard enough they can be call and responses to each other.

S01E03 - “Has the world abandoned you, Mizrak?”

S02E04 - “I’ve seen enough too, Olrox.” (girl what have you seen please tell us)

S01E06 - “Of course not Mizrak, I’m not in love with you.”

S02E05 - “If you do have soul Olrox, and maybe you do. I hope it finds peace.”

S01E08 - “I don’t want you to die, Mizrak.”

S02E08 - “I’m afraid, Olrox.”

In any visual entertainment medium, repetition comes in threes so something has to happen after this, which we'll get to very shortly (it's the "my love" part).

This close-up of Olrox is used to slow down the scene and break the tension caused by Mizrak's scenes. It's utterly silent, a complete contrast to the panic and the wordy confession by Mizrak.

What this shot does is help build anticipation for him to share the screen space with Mizrak as he lowers himself in this shot. We're also not privy to his face. This also builds up the anticipation of seeing his face later on and really hammers that impact.

This shot is very important as it reintroduces Olrox to be in the same visual space as Mizrak and this is the very first thing he does.

When reintroducing Olrox back in, two new things are introduced. Well more so not new things, two pre-existing motifs/concepts get elevated.

Hands. This is not new, hell, Olrox holding Mizrak is by far not a new thing and it is one of the key visual characteristics of their dynamic, hand-holding however, is definitely new.

"My love", is absolutely very new, but of course it is a replacement for Mizrak. Mizrak's name gets elevated to my love.

What's also very interesting is how pulled out this shot is. This is important however as two different elements are here to strengthen this shot.

Mizrak's entire dagger is in this shot. A weapon of violence is here to contrast the gentle nature of Olrox reaching for Mizrak's hand. The matter of fact that the dagger is placed in this shot BUT lacks any very heavy visual weight implies how any agony, torture, or violence is currently being subsided as Olrox's hand is in front of it.

The bed sheet takes up a major part of the lower thirds of this shot. Take notice of it's colour and pattern. I do go over it in my mindless talks about the Nocturne eye colour analysis, but I'll reword it to fit the context of this scene in particular.

Olrox is coded purple and green. Not only in his character design, but in the locations he's often put in. If you think back to every single space Olrox has shared with Mizrak they are all green. Mostly grassy outdoor environments, however, if they are not outside, the inn is very naturalistic in colour and framing like nature itself. This showcases where Olrox is compared to Mizrak in a power dynamic. Mizrak just does not have any strong vibrant colours to define him that aren't monochromatic or brown, but that's kind of the whole point of his character. This just easily allows for when he shares a space with Olrox, the green and any other vibrant colour to overwhelm Mizrak, and in a funny way, make Mizrak stand out very oddly because Mizrak isn't visually a vibrant character.

So this one shot, it basically informs us how Olrox is wrapped around Mizrak and is not willing to let go.

This is shot is so impactfullllllll, the build up to this is soooo good.

This is a close-up shot, what's important though is how much Olrox visually takes up screen space-wise, completely contrasting the previous shot. Especially since this is the first time we haven't seen his face in a while. This shot chooses to specifically focus on Olrox's eyes and mouth. This builds to anticipate what is to come and have us on the edge of our seats, questioning if Olrox is going to actually bite Mizrak. The closeness of the shot too makes this scene very intimate to continue this more romantic, yet still dark atmosphere going on.

Also what's important to mention again is Olrox's hair strands, which is used to block and frame this shot. In a sense, it makes the shot that much more suffocating and close in. While Olrox does not show any panic or fear emotionally, simply because Olrox is trying to comfort Mizrak, this feels like Olrox is in fear. By having this line paired with a close-up of Olrox only, it makes it feel like Olrox is locked to the one sole option. His sole decision. He's currently not going to be taking any other suggestions because how can he? Mizrak admitted his fear of death/hell, and by no means Olrox is giving into Mephistopheles/Old Man Coyote.

What choice does he have? He has no other choice... right?

The theme of choices is a massive thing in Nocturne Season 01. Olrox's first appearance in the show is with him says "don't listen to her, there is always a choice". Olrox is the one to introduce this theme of choices, but here now, Olrox is backed into a corner with no other choice.

[No image sorry]

Next we have a close-up of Mizrak's eyes.

While this will not be the last we ever see of Mizrak's eyes since we have another shot, his eyes are important. This reaction is important. We need the pause for the gasp and his shock. What's important is that his eyes do all the talking which in my mind is much more powerful as it communicates ten different billion things and leaves it up to the audience's interpretation of how to engage with this scene.

However, the most important takeaway for everyone is that we have to see Mizrak be shocked.

This is important because of course, a close-up of the mouth is there to state how Olrox is going to bite him, therefore you need to put a lot of emphasis on that to really hammer it in, but the focus of the mouth moves. It does not move with Olrox however, Olrox moves himself and out of the camera. This puts emphasis on his descent, really building for that anticipation of the bite but it gives us one last tiny glance at Olrox's mental headspace before the bite.

It is so brief, but we see his eye and that's important. You don't include anything that isn't important because this is a serialised animated series, you're not going to spend additional time on something that lacks importance (I think, this is me guessing I can be so wrong here). Also, his eyes are green they're going to stand out against black and brown. His eyebrow is upturned and his eye, from what i can personally read, is far more gentler than his previous shot.

(i won't lie, seeing this loop is very funny to me)

Another close up and this is the final time we see Mizrak's very brown human irises. This is the last thing we see of his humanity. This is animation, so it's important to capture Mizrak's face before the bite, Mizrak's initial shock of pain and some sort of acceptance as his irises settle back to normal size before closing them with tears. Honestly, it's better to just click through it on Netflix frame by frame if you really want to see the arcs Mizrak goes through in this one shot, its very cool to see him go through all these phases in a short amount of time. While nothing is stated outright for the morally grey area which is on purpose. It builds off the whole conversation from the season 01 episode 06.

Mizrak: And you did that to him? Did you even ask for permission?

Olrox: I was in love with him, I wanted him to be with me forever.

Mizrak: And is that what you have planned for me?

Olrox: Of course not, Mizrak. I'm not in love with you.

This leads to one of two outcomes for the future. Either Olrox repeating a cycle beat for beat, or Olrox trying to fix previous mistakes in a "what would I do differently if I went through this again." Both come from his survivor's guilt. This will be explored further in season 03 (please I need it so bad) in a much more complicated nuanced way because this is Mizrak we're talking about. Despite him having overlapping traits with Olrox's previous lover, he is also the very opposite of him (that we know of since we can gather Mizrak is so self-loathing, while Olrox's previous lover embraced his connection to the land and fought for the rights of his people, so we can make the assumption that he embraced his whole identity).

This mid-shot paired with another pedestal camera move! The camera is motivated to move up so it can showcase the new character positions in the location, Mizrak's hand placement, Olrox's arm and of course the biteeee, followed by Mizrak's expression. It's staggered one after the other.

One thing you must notice is Mizrak putting a hand on Olrox's elbow (this gif makes it so hard to see, this is me asking you to rewatch it on Netflix for a better view) which can imply acceptance of vampirism. It's animated intentionally. Again, nothing is stated outright, but also media is kind of boring to engage in if you spell it out verbally. What's the point of a visual medium without using visuals to a storyyyy. It also just gives autonomy to the audience to come to their own conclusions which is also more fun. The lack of a spelled-out answer makes us more engaged as an audience.

Then we get a fade to blackkkkkkk~

While this is mostly just to symbolize the end of a scene, in a lot of other media, fade to black is used to cut away from sexually intimate scenes which is funny knowing that context.

What's fun is that this scene is supposed to run parallel with Richter and Annette's scene kissing (I'm not sure, there could been a stronger scene to parallel this, I just know in my soul of them is supposed to go in line with a Richter/Annette scene). One character takes care of their partner's aliments and sharing an intimate moment together. Whilst they are definitely not one-for-one, these two couples are supposed to show different aspects of love as this entire series, both the original and Nocturne, have very strong themes of love in it. This also just allows for whatever they have planned for season 03 to make them still feel closely tied even if they're literally doing completely different things.

Ok we are done with this sequence, time to jump to the spicy one!

This is our establishing shot for the scene. Curtains. A window. Through both season 01 and season 02, we’ve been getting so many cues about Olrox and Mizrak’s association with windows and curtains. Also, the last time we saw curtains as an establishing shot for Mizrak/Olrox, they were naked. This builds off our previous expectations.

Also, this is super vertical and red. This will be VERY IMPORTANT LATER. Greenish yellow curtains were used to represent Olrox, but this is red.

We jump to pedestal midshot, which just gives us a lot of questions. Where's Mizrak? WHY IS HIS SHIRT OPEN? WHY IS HE LAYING LIKE THAT? NEW CLOTHES??? WHAT'S GOING ON??? That's all intentional because we don't have any setting establishing shots and therefore it feels disorientating on purpose. It forces us into questioning mode. We can only presume we're in the same location due to the bed and camera angle feeling the exact same as where we left off in their previous scene together, but that's all we get.

Pedestal camera movements also just happen a ton in this sequence simply because Mizrak's reveal is all ton in pedestals and it complements nicely with the fabric falling down, so setting up the movement early helps ease it in.

This shot can also totally parallel season 01 episode 04 where Olrox turns to look at Mizrak leaving the bed since both of those shots are framed above Olrox. This can also totally parallel Olrox killing Julia as his hair is in a circular motion in a similar shape to the blood.

@ifishouldvanish did an amazing breakdown of this and for the life of me I cannot find it, but once that's found I'll link it here, in a sense it's basically offering his blood up to Mizrak here.

EDIT: Thank you Vanish for sharing it! This comments the Olrox/Julia parallel along with discussing the Quetzalcoatl and how they overlap with what's occurring in this scene! You can read it here!

We cut into this close-up! The main thing here is directing our eye-line to stay on the left of the screen and build anticipation for Mizrak's face. Every single shot's aim is mostly for that build-up for that pay off.

Close-ups, as I've stated before, are used mainly to see an emotional performance from the character and therefore personally connect to their feelings. This however, which I will be personally honest, is so hard to read but I feel that's on purpose to give into the ambiguity aspect of not only the scene but also of Olrox as a character. Both Olrox and Mizrak are expressive and extremely very guarded, so it definitely leans into that. It also gives the audience the autonomy to come to their own conclusions. Like this can read as a very gentle smile, it can read as a subdued concerned look- it's your interpretation and how you personally engage with this entire sequence. It allows the ending to be a lot more open-ended.

This longshot! It gives more of the background to establish where characters are in the scene but do notice how things seem different now. Notice the colours in this shot. We're introducing Mizrak's new colour motif. It practically dominates the entire scene, even if Olrox's eyes glow bright green. Not only this, this shot builds up for the anticipation of Mizrak's vampire transformation reveal as all the red fabric drapes down in an almost waterfall/dripping way akin to blood.

We also begin to have the fabric move down, bleeding into other shots to stitch them cohesively together (that pun was intended).

Also, this is super intentional again, but Olrox is boxed/framed by the bed with very harsh lines and rectangles. This deeply contrasts Mizrak's shots because Mizrak doesn't visually get confined by the background due to all the drapery and the blurred background. He is also associated with vertical organic lines. This creates a deep separation between these two characters, giving us suspense and tension because there's a clear disparity between them.

Woo! A midshot! This shot feels so long and so short in timing.

This is super vertical. This shot is 90% made of vertical lines, which brings a ton of focus toward Mizrak's back and the drapery because they're the only two things that are not vertical.

The drapery here is basically a curtain unveiling the main piece. This is Mizrak's rebirth, he has transformed. This is coupled with artistic nudity as nudity isn't inherently sexual and represents the form in its barest sense. You could even say it's religiously coded.

Also in general, if you put anything on the very edge of your shot visually, it creates unease so if you put something as bright as light on the very edge, it makes your shot unbalanced. This is done on purpose. The dark aspect of this shot is literally all-consuming and makes the left heavy focus feel more menacing because there's so much empty dark space.

This mid-shot is paired with a pedestal camera move! The camera is motivated to move in an up/down position due to the last shot having the robe fabric around him move down as a reveal, therefore continuing that movement here to continue the reveal of Mizrak’s transformation. While yes "teehee look at his chest awooga", rightfully so, me too, you notice the blood and wound are absent. Mizrak looks strong and healthy. The pedestal camera movement is used to great effect again because the first thing you're focused on is his chest, then it moves up and you see the bite marks and the ear. Information is slowly given to us.

I'm putting my case down that this shot is a callback to Season 01 Episode 03, in which Olrox peers outside the window of his inn room. They both have this same forlorn look as they look out.

This cut to a close-up and having Mizrak switch up is fucking terrifying. This is because the background is completely blurred to give Mizrak the center stage. The background is completely separate to him, he doesn't feel grounded to it as if he's popping out of the screen. His eyeline is directly at US, the audience.

When Mizrak turns, his eyes glow bright red. We've seen this before where someone turns their head and their eyes shift from their natural colour to bright red. In-fact, Mizrak has seen this before.

Tera does this BEFORE with Emmanuel too when he insinuates on Tera's vampirism affecting her love for Maria. Another example, while not as strong (simply because the freshly turned vampire comparison) is Ezerbet demanding Emmanuel to bring back Drolta but all of these points of contention surround love and so-called monsters having souls.

Side note, it's very interesting that she yells at Emmanuel, but cries over Mizrak's comment and her red eyes disappear. Obviously, the stark difference is that Emmanuel literally sacrificed her, but it showcases that Tera and Mizrak probably were close friends since he makes sure to actively protect her daughter and he knows his way to their house. Just something to think about with these newly turned vampires and how their lives will come to overlap eventually.

While this trait may just be an Ezerbet thing, we don't know, notice how the glowing eyes occur in highly intense emotions surrounding people they love deeply. The Tera example just being stronger to back up this case since she is a recently turned vampire. Eyes are super important in Nocturne for both vampires and humans. Alucard's eyes go bloodshot red like Dracula's when he fully powers up. Maria's eyes go pitch black as she initially summons Seiryuu. Olrox's eyes glow bright green as he spies from Mizrak from his inn room window. Richter's eyes glow icy blue as he fights Drolta and eventually confronts Olrox.

So what does this mean for Mizrak? Again, this will begin to pull into interpretation based on other scenes in the show and how I viewed those. One thing I can say is that Mizrak still "has a mind that can think and a heart that can love" - Olrox S02E01. We need to pull that context from Olrox/Tera's conversation, Tera/Emmanuel's conversation, Ezerbet's demands from Emmanuel, Drolta's night creature transformation, and Alucard's conversation with Maria about Dracula. While there definitely are more conversations that can further strengthen the point I'm making, no matter who you are, monster, vampire, or human, they all have a soul, you are innately the same even after transformation. It is however your choice to indulge in the powers of vampirism and abuse it or stand against its tide. This includes Mizrak now. The choices he makes now are still him. Which why it makes it all the more shocking because the last time we saw him, he was having a crying session, pouring out his heart and soul to Olrox but suddenly now he's quiet and fucking terrifying. We as an audience mentally have to determine which choices he has made. Did he cry after feeding, sobbing over the violence like countless times before or did he indulge in the powers he manifested? Or a third other more complicated idea? I'm not going to say my personal opinion outright to avoid swaying your own because the intention of this shot is to make you question and really dig deep about it.

Also if you're still interested in my personal opinion I feel like it really seeps through in all my fan art and just this informal essay in general. Even then I do have a ton of thoughts about it that are not perceivable in the public eye because, in my brain, their dynamic is so convoluted as individuals LET ALONE THEM PAIRED TOGETHER. The thing is too, multiple different ideas and interpretations co-exist in my brain at the same time so it's really hard to get a proper personal opinion without me just saying "me like Castlevania : Nocturne more than a normal amount."

This is a long shot, it establishes the room they’re in, where the characters are placed and the location. While it is always important, the is colour, character placement and framing is something I’m specifically calling out here.

This is an extremely red room. The colour red is now heavily associated with Mizrak. The only thing that isn’t red is the bed, aka where Olrox is placed. It is green, a colour often associated with him. Often then not, Olrox and Mizrak’s private scenes usually tend to be placed in green environments, giving the sense to the audience of who is higher in the power dynamic. Not only here, that has been changed but with the way the bed frame is placed, it literally boxes Olrox into this section. It makes him appear a lot smaller and appears to take up less space. The roles are swapping. We've already seen this by Olrox joining the fight, and now we have Mizrak accepting vampirism.

This midshot is used to communicate him getting up from the bed and giving Mizrak the same dark stare. It also just gives a reason to see Olrox's torso LOL.

This shot is super vertical which challenges every other shot Olrox has been in because he's been horizontal or laying down the entire time. This and the previous shot is now on par with Mizrak who has been associated with vertical organic lines.

This shot is laced with so much mystery and lack of any conformation because you can also again, interpret as you wish with this shot. That's the allure of it though, that's why people love this shot.

[no image here sorry, curse you 30 image limits]

The next shot I wanted to talk about was the transitional curtain/drapery which is super fun as a way to go between shots. It's a super reminiscence of curtains unveiling a performance on stage or a magician trick behind the curtain to reveal a transformation or something disappearing. What the drapery reveals for the first one is two close ups of Mizrak's new form. His teeth and his dagger-like nails. These are vital to showcase the violent potential of his body. His new weapons.

What's interesting is that Mizrak is growling. Mizrak throughout the entire show harks on about animals, yet he himself has become the thing he's sworn to hate- hell, before his transformation, he literally barks and growled at other people, this is just manifesting it in physical form.

Animals to him (from what I've gathered) are free to follow their heart’s content (which is something Mizrak is yearning, desiring and longing to be like if you think about it), which are not bound by the rules made by mankind. The church's rules appear they are given by God, and the Abbott fights for Him in His name, but these teachings are reinforced by infallible men despite taking vows of obedience, stability and conversatio morum (fidelity to monastic life, which vows of poverty and chastity go under these). Mizrak is blind to the fact he is serving men's idea of God rather than God Himself, but it all begins to unfurl at the seams during season 01 and Mizrak finds himself trying to still cling to it in season 02, but it's just himself now. It is literally just faith as his companion at this point.

Ok Mystery, tell me how this shot of Mizrak’s ass is important. Why incorporeal voice, I’d love to tell you. So I'm not joking when I say this is Mizrak liberating himself from his man-made chains. Nudity, as I stated before, can mean rebirth but it can also represent vulnerability. This literally bares out Mizrak in his entirety, unbound by his uniform, and by his ties to his religion. Vamprisim in a way has led him to accept his other parts of his identity (not fully though because this is Mizrak).

Going off into another media, but it reminds me of Louis from Interview With the Vampire (2022). He comes to terms with his queer identity through being turned into a vampire and if he never got turned, he probably would have died never accepting that part of himself. Honestly, I think that show is very good to overlap its theme with Mizrak and Olrox, and also in general a very visually/narratively-driven strong show, I would highly recommend it.

Okay, let's get back on topic!

They're posed specifically like that to make the silhouette distinctly clear of where they are, but Mizrak and Olrox's poses intrigue me. The way Mizrak's legs wrap around Olrox's thigh and how very intentionally his hand goes to the side of Olrox, especially since we have jumped from two shots of his dagger-like fangs and nails, which appears very violent, yet this is very intimate. Then we have Olrox, whose pose is also very open. It's accepting whatever onslaught hunger Mizrak has. This is strengthened by the contrasting vertical and horizontal lines in this shot as now Olrox is horizontal. He lasted about 5 seconds before being back on the bed.

Another thing is that compositionally, Mizrak is above Olrox and takes up a lot more visual space then him, which places him higher in the power dynamic. Mizrak has never been in that position until now. Olrox is much lower in the composition and most of it is covered up by Mizrak, being placed lower in the power dynamic, which is also a very new thing. This further pushes the new roles they have in this dynamic.

The sound effect for Mizrak landing on the bed isn’t as harsh or violent as I expected despite the appearance of the velocity he was going at in the previous shots. I'm going to take that as intentional because Mizrak looming over Olrox is a parallel to season 01 episode 03. While the sounds are not the same they're way similar. In turn, almost every single shot in this sequence can be tied back to a previous shot in season 01 I'm not kidding. This is why this works so well, everything is coming back.

All those visual parallels can be seen here on my Bluesky!

This one shot is both fucking absolutely terrifying but it also communicates "woah hot" which is great, we need more of that in media. Give me more horror mixed with sexuality in a vampiric context thank youuuu.

This shot moves from a midshot to a close up because Mizrak moves himself. The camera isn’t motivated to move, he is, exactly like Olrox's bite shot. We’re also placed in the position of Olrox. The shot just LINGERS on Mizrak just staring at the camera and it’s just slightly longer then the norm. To me, this reads as if Mizrak is literally eyeing up prey. Terrifying.

The presumption can be made that Mizrak, being newly turned (evidenced by the still-fresh bite marks) needs to feed. Much like how Tera needed to feed off Ezerbet. However, instead of forcing blood into his mouth much like how Ezerbet dribbled blood into Tera, Olrox just lets Mizrak come to him animalistically. This does not strike any fear into him, hell his expression is so muted. Though we never get any close-ups of Olrox's facial expression when Mizrak goes to look at him which is very intentional, we don't get to have a proper read of Olrox's expression and continues to steep this further into mystery, yearning for more information on this scene. This also just ends in another fade to black, Olrox bit Mizrak in the last sequence analyzed, now we can again presume Mizrak is biting him due to this.

This is our last shot of Olrox and Mizrak. It leaves us to question what happened and what will occur in the future. It doesn’t even give us any answers but it lays the foundation for theories and the potential for season 03.

Another thing to note is that Olrox, originally known as Count Olrox/Count Orlok in Castlevania : Symphony of the Night was based on Count Orlok from the gothic film Nosfertau (1992). There's a whole thing where Count Orlok's shadowy hand clasps over Ellen's heart/chest and she reacts quite 'suggestively' to it. This scene is used to comment on the societal taboo of sexuality and indulging in it. This basically kind of happens in this entire sequence, but instead, it's Mizrak's shadow looming over Olrox and it's Mizrak initiating the act. If you apply that lens here, you can engage with the scene as Mizrak letting himself come to terms with his sexuality, a thing he considers taboo and forbidden through vamprisim.

A section of Nosferatu I'm talking about can be viewed here.

And we're done! Apologies for skipped shots and if any of it got really clunky or had any odd grammar. I hope you enjoyed this informal essay discussing episode 08 and I hope you got something out of it! I'm stopping this now before this consumes my brain because I need to hop onto graded studies. This was a very fun study and I hope to do more in the future!

#mystery talks #castlevania nocturne #olrox #mizrak #olrox/mizrak #mizrox #long post #analysis #castlevania #this has been rotting in my mind for two months now and finally got time and the confidence to just write #i literally keep adding to this so I'm going to stop here before it gets longer #fingers crossed that my knowledge on this is percievable in my workkkk #iwtv mention #nosfertau mention

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rimurutempest · 1 year ago

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I watched all of modern Doctor Who and these were my favorite episodes.

If you told me back in 2015 that I'd watch the entirety of modern Doctor Who, I'd probably think you're a liar. But, a cute girl wanted to watch Doctor Who with me, and how do you tell a cute girl “No?” Being that of the Superwholock trinity, Doctor Who the least upsetting of the three, I figured “Why not?” I mean, it's enjoyed by thousands and thousands of people, surely it has merit for existing, right?

And, it does! There are many great episodes that I really enjoyed (not to mention a lot of schlock I hated). I even enjoy some of the old serials and that 1996 movie is pretty fun (so very 90s). I can't claim to have seen all of Doctor Who, there is a lot of old stuff I'm probably never going to know even exists, not to mention all the spin offs and audio dramas, there's no way I can get through it all. But, I have seen the modern run, starting with Christopher Eccleston all the way to Ncuti Gatwa in Empire of Death.

Annnnd, anyone that knows me knows I love to rank and review episodic tv shows. So, with that said, here are my 15 favorite episodes of modern Doctor Who:

15 - Dalek (S01, E06)

It is probably unsurprising to any Doctor Who fan to see this episode on the list. The Eccleston era was my introduction to Doctor Who (as I'm sure it was for a lot of people) and this episode was my introduction to the famous villain, the Daleks. It's really a wild way to be introduced to the Daleks when you think about it, the Doctor and his companion Rose end up in an underground museum of alien artifacts out in Nevada and find the man that runs it has a Dalek in captivity. Upon learning of the Dalek's existence, the Doctor goes on a campaign to kill it with extreme prejudice until Rose yells at him about how he's being this horrendous person – which makes the doctor have a “Maybe I'm the baddie” moment and it resolves peacefully. Genuinely is really a good episode about moving on and realizing that we all have good and evil in us. A true standout of the early modern run of the show.

14 - The Impossible Planet & The Satan's Pit (S02, E08&E09)

There's a spectrum when it comes to Doctor Who, there are episodes that are gorgeous and smart and well thought out, then there are episodes that are just absolutely ridiculous. If Dalek explores the prejudice that can be enacted by those we see as “good,” then this duo of episodes is “what if the Christian devil was real and he was in space.” This is such an unbelievable hit of stupid bullshit, but it's delivered so very well. The first episode is loaded with mystery and adventure and unknown horror, while the second episode introduces the goofy concept in whole but still somehow grounds it enough that it still feels like a real plot with real stakes. It's the acting. The actors really sell this one to you. Space Satan is not what I expected when getting into this show but hey, it works and I like it.

13 - Blink (S03, E10)

I'm going to be honest with you, I feel like the internet really hypes up the Weeping Angels to a point that when you finally encounter them you're like, “Oh that's all?” Every episode of Doctor Who with the Weeping Angels feels underwhelming, silly, dumb, boring, with one exception: the original. I will not try to convince you that Blink lives up to the hype that the fandom has built for it, but if you can watch it without the Superwholock kind of bullshit in your head, what you'll find is actually a pretty good story. One of the best of the show. If the angels existed for this one episode and nothing else, they may have stood as the best antagonist of the show, but they got overused. I'm not going to explain the episode, I'll end up overhyping it more, just watch it.

12 - A Town Called Mercy (S07, E03)

I never see anyone really talk about this episode and it makes me wonder if maybe I'm alone in thinking it's great, which if so, oh well. I like westerns. The long and short of this is the Doctor and his companions, Amy and Rory, arrive in the old west to find a town with electricity too early and an alien cyborg gunslinger hanging outside of town hunting the town physician who turns out to be an alien that committed some horrific space crimes. The episode feels like a fun, loving homage to the western genre while once again exploring those aforementioned qualities of good people can be bad and vice versa. It's a fantastic little romp for the cast and these are the kinds of episodes that made the show fun to watch.

11 - Midnight (S04, E10)

Does this count as a bottle episode? The one thing I have to give the cast of Doctor Who is that when they decide it's time to really act, they act very, very well. This episode is completely carried by the acting of David Tennant and his supporting cast. In this episode, the Doctor's companion Donna sits one out while the Doctor takes a shuttle bus to go see a waterfall, until some unknown alien starts taking over people's bodies. This is a very, very well done episode that shows that you don't need elaborate set dressing or endless action to make good television, you just need good actors.

10 - The Devil's Chord (S14, E02)

I realize this might be controversial to say, but Ncuti Gatwa is my favorite actor to portray the Doctor. He's a fantastic actor and the energy he brings the role is so different and wonderful. When it comes to media, people typically don't like to hear you praise the modern bits over the older stuff, but this most recent run of Doctor Who with Gatwa is consistently more interesting and enjoyable than any other season of Doctor Who (that's probably Davies doing).

That all said, The Devil's Chord is a wild episode. I previously said that Doctor Who has a spectrum, from really great story telling to really goofy. If Midnight is the great story telling, then The Devil's Chord is the goofy. In this episode the Doctor and Ruby must face off against Maestro, the God of Music, who wishes to take all music from the world. The energy of this episode is wild, with Ncuti Gatwa's take on the Doctor going up against the insanely wild trickster character Maestro, who is portrayed by the trans actor Jinkx Monsoon. If you've fallen off of late Doctor Who, or you are completely new to it, please give this new season a watch (and don't let the Beatles jump scare at the beginning stop you, I swear there's no Beatles music!).

09 - The Empty Child / The Doctor Dances (S01, E09&E10)

If you're starting your Doctor Who watch at the beginning of the modern series, this will probably be the first episode that strikes a real chord with you (well, other than Dalek that is). This was the show's first real attempt at telling a horror story, one that is sort of zombie adjacent. This bizarre World War Two story with a child in a gas mask morphing people's bodies and existences into more versions of himself is one of the more original stories in the entire Doctor Who series, no one but Eccleston and Billie Piper could have sold this so well. Not to mention the introduction of Jack Harkness! (We'll uh...we'll ignore the actors conduct for this...)

08 - Planet of the Ood (S04, E03)

This is not the first time we meet the Ood, they were in the aforementioned Impossible Planet episodes, however this is when the Doctor finally does what he should have from the very start. The Ood are essentially a slave race, and in Planet of the Ood, they finally start to act out and revolt. The Doctor, as unpolitical as he has always been according to some people, decides “Yeah! Slaves are wrong!” and starts working with Ood Sigma (who becomes a recurring character kind of) in freeing the Ood. This episode also has one of the sickest, most awesome, kinda horrific effects in all of Doctor Who. Above all else, this episode is just very beautifully shot and well made. One of the highlights of the entire series.

07 - The Day of the Doctor (50th Anniversary Special)

Exploring the Doctor's mind during the Time War is such a cool concept. It's a thing the Doctor keeps referring to as this horrific, life changing thing for him, and getting even a glimpse into it is guaranteed an amazing time. Featuring both David Tennant and Matt Smith, while bringing on John Hurt of all people because Eccleston wouldn't reprise his role, the acting talent in this special is incredible and genuinely so wonderful to watch. At the end of the day, it's a really, really good Doctor Who romp and deserves any praise it gets.

06 - The Waters of Mars (2009 Autumn Special)

Pic from the BBC. Theirs looks better than anything I could get.

Hey look! It's the Hugo award winning special! And I only put it at number six!

Everything about this special is so fucking cool. The set designs, the costumes, the fucking monster itself, everything in this is so cool. You know how people always joke about horror needing to be wet? Well this is wet horror. David Tennant puts in so much effort here, struggling with what he wants to and what he has to do, the Doctor is really pushed to some stressful limits here that has such a fantastic end to it. Even if you disagree with where I placed it on this list, there is no doubt that The Waters of Mars is among the best stories Doctor Who has ever put out.

05 - The Impossible Astronaut / Day of the Moon (S06, E01&E02)

This is one that's probably going to get some pushback. I am an X-Files fan, it's my favorite show, love it when it's great and I love it when it's trashy. This two part season opening is the most X-files like the show ever gets, and I am so into it. The opening mystery of the episode sets up a really cool overarching concept for the season (don't ask if it's resolved well, please don't ask that) while introducing us to one of the coolest enemies Doctor Who ever made (please don't ask if they stay that way, please don't ask that). Everything about this is so fun and interesting and I hope others come out of it feeling the same way.

04 - Voyage of the Damned (2007 Christmas Special)

Pic from IMDB.

DOCTOR WHO TITANIC IS VERY GOOD!! Sorry for yelling. For a long while this sat as my absolute favorite episode of Doctor Who. Journeying alone on a rare occasion, the Doctor finds himself spending Christmas aboard the space Titanic (I am not kidding, they named it the Titanic!) and as the name of the ship would imply, tragedy strikes. This story is really wonderful, we get to see the Doctor try his hardest to save people and show love and kindness to so many people, not to mention having a group of characters instead of one companion to explore. I especially love the Van Hoff couple, who are two fat and poor people who won tickets to come aboard what is a wealthy cruise. Everyone around them is rather classist and fatphobic to them, but of all they characters in the special, they exhibit real happiness and love and their devotion to one another is genuinely so wonderful.

As I said, this one stood as my favorite episode for a long time. And, you don't really need to see any previous episodes to watch it, so please go watch it. It's a fun time.

03 - The Giggle (60th Anniversary Special)

I don't know what the wider fandom's thoughts on the 60th Anniversary Specials are, so I don't know if this is a controversial take or not. But, The Giggle highlights everything that is great about Doctor Who. It tips its scales back into the goofy part of the spectrum, but that goofiness is ultimately what makes this such a fun and interesting special. When thinking of actors like Neil Patrick Harris, who are so big and popular and well known celebrities, you forget that the popularity came from the fact they're good at their craft, and if The Giggle did anything for me, it was reminding me that yes, Neil Patrick Harris is an outstanding actor. And, getting put with a returning David Tennant and Catherine Tate really just solidified this special as some of the best acting the series has to offer.

The scene where the Toymaker forces the Doctor and Donna to watch a puppet show about the fates of the Doctor's companions is one of the best meta commentaries the show ever did about itself. The introduction of Ncuti Gatwa is pulled off in a fantastic way. And, the ending is so heartwarming that it makes makes me happy they brought Tennant's Doctor and Donna back.

02 - Heaven Sent (S09, E11)

I previously said that Ncuti Gatwa stands as my favorite Doctor. But, before the Gatwa episodes were out, my favorite was Peter Capaldi. Though Capaldi was given some of the worst scripts of the series (Jodie Whittaker probably got the worst of the worst), he brought such a different interpretation to the Doctor. David Tennant and Matt Smith's Doctors, despite their differences, were largely the same characters. Capaldi's had more of that Eccleston-esque attitude and charm, while bringing this gravitas that makes the silly moments feel real emotionally.

Which brings me to Heaven Sent, which might be the pinnacle of acting in the series. When people think of the best Doctor Who episodes, they probably expect big action and lots of adventure, but to me, the most interesting parts of Doctor Who are when we explore the Doctor as a character. What makes him tick, what makes him who he is, why is he here doing this – exploration of the Doctor and his motives is spectacular, especially when done right. Heaven Sent follows the Capaldi Doctor, after the death of his companion, imprisoned in a castle where he must reveal all his secrets. The torture and sorrow that Capaldi is able to show on his face is both horrifying and spectacular, really showing that he is an outstanding actor. There is no other piece of television like Heaven Sent.

01 - Vincent and the Doctor (S05, E10)

I don't think this is a surprise to anyone. I'm sure everyone has seen the gifs go around of the Doctor taking Vincent van Gogh to the future to see how his work is revered and loved and how moving that scene is. What I don't think most people know is how after that scene, after Vincent has been put back in his own time, the museum doesn't change. There are no new paintings. Amy, the Doctor's companion, then must learn that love and praise alone do not cure mental illness.

This episode has a haze of melancholy. The Doctor may change history plenty of times, but he doesn't often change real events. So, from the very beginning, you know van Gogh's fate, and you know it won't be changed. I actually liked this episode' portrayal of mental illness, it really is something that affects our lives, and makes it hard (if not impossible) to fit into society. How people with mental illness are often outcast, harassed, and treated like subhumans. But, this episode also shows happiness, hope, and love. And, that people do love you, no matter what you may think.

And, I think that makes it the best episode of modern Doctor Who.

Tumblr has decided that adding my full episode rankings would make this post too long. So, I will be adding them in a second reblog (check notes if you want to see!)

#doctor who #dr who #long post #rankings

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gifsforallseries · 5 months ago

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Tv Show "The Tudors "

S01 E08

please, like/reblog if you use it

don’t redistribute and claim as your own

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psychedelic-ink · 2 years ago

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ㅤㅤㅤ✦ 𝐅𝐎𝐋𝐋𝐎𝐖𝐄𝐃 𝐓𝐇𝐄 𝐁𝐄𝐀𝐒𝐓

ㅤㅤjoel miller x f!reader

genre: angst, hurt comfort, minors dni

word count: 5k

summary: You, both a member of David's group and one of his former victims, are already contemplating escape when Ellie arrives at the resort. Seeking Ellie, you decide to take advantage of the unexpected opportunity to run. But before you can find Ellie, you cross paths with Joel instead.

warnings: age gap, virgin!reader, mentions of past grooming attempt, mentions of cannibalism, past rape attempt, PTSD, blood, canon typical violence, no smut for now, spoilers for s01 e08

a/n: this was previously named let me follow this is also new for me because I've never written virgin!reader before (mostly because i didn't have the best experience with that) but i felt like it was fitting with the story and where i wanna take it in the future.

Revelation 13:3-4 "One of the heads of the beast seemed to have had a fatal wound, but the fatal wound had been healed. The whole world was filled with wonder and followed the beast. People worshiped the dragon because he had given authority to the beast, and they also worshiped the beast and asked, 'Who is like the beast? Who can wage war against it?'"

The wind blows cold. You, a girl who has lost everything, sit on your knees on the ice. Your family has been long gone. Your hope dwindles, hanging only by a simple thread. You don't know how long you've been crying. Your hands, young yet covered in the warmth of blood. The scent of pine reaches your nose, and you sniff involuntarily, just like you did before you lost everything. Before the world ended. You hear the sound of men approaching you, and you wish they would just kill you. Sixteen and already you wish for the sweet mercy of death.

“Now what do we have here?” A man speaks, his tone is humorful. Melodic. Your mind and body already slipping and reaching towards the warmth of it. “You poor young thing. Where’s your family, girl?”

When you finally look up from your hands you see a man on a horse. Typical for this day and age. Near him hovers four others. All of them looking weathered and older than you. Your eyes move back to the one that seems in charge. He has strawberry blond hair and a thin beard of the same color. His eyes narrow slightly. They pop under the cold blue sky and the frozen lake. You don’t know what to say. How to answer this man who is an obvious threat.

He hops off the horse, and you attempt to move away but your legs are frozen in place, your heart beating loudly against your ribcage. He kneels next to you. Observing. You swallow, fear coating your tongue with the taste of bile. His eyes soften when he takes in the sight of you. Bruised and wounded. Your eyes squeeze shut as he reaches out and pushes a loose strand of hair only for the wind to bring it back.

“No need to be afraid, child. We’re a peaceful group and there are more like us if you want to join.”

“J–Join?” your teeth chatter, your lips hurting as you speak. There’s a bit of light filling the cracks of the iron cage of your heart. Hope. You realize it to be. Hope that you found someone to help you. To look after you in this infected world. He must’ve seen it in your expression because his soft smile grows, eyes glimmering with mirth.

“So afraid,” he hums. “But we’ll change that soon enough. You’ve been brought here for a reason. And I think I know what your purpose is in our small clan.”

He swiftly stands, leaving you dumbfounded and still upon the freezing ice. Your mouth gapes, your body buzzing with a newfound need to stay alive.

“What’s your name?” you ask. He throws an old coat over your shoulders. Not his own. But one he had extra on his horse. Probably taken from someone else who was more unfortunate than you.

“David,” he answers gently, as if he’s scared you’ll run away. Before you reach out, he grabs your hand and lifts you. You nearly fall, only prevented thanks to the strong arm that wraps around your waist. He’s warm. Much warmer than you expected. “Lovely to have you with us.”

The men near him don’t seem to share the same sentiment but you smile all the same.

You don’t want to think for a while. Maybe not even for a millennia. If possible.

10 YEARS LATER

Whispers of death surround you. The names of the fallen circling you and squeezing your heart tight. Suffocated. That’s how you feel. Helpless. Trapped. Consumed. Faint murmurs fill the hall room. The cold that seeps through the wood, the same wood that was intended for summer and not winter, worries everyone, including you. But at the same time, you think this is what you all deserve. An icy grave. Freezing to death and surrendering to the cold.

You were never meant to feel warmth. You know that better now.

The chair creaks next to you and when your eyes shift to the side. You see James taking a seat. A sudden rage fills you. An indescribable rage. It disappears as soon as it appears like it always does. He turns to you and gives you a curt nod. You don’t nod back. He might think he’s looking after you but he’s not. All he’s done is turn the other cheek to a faith that is spewed by a liar. A deceiver. A disgusting man that makes your stomach turn—

The aforementioned man finally stands and clears his throat. Loudly. But not loud enough to overpower Hannah’s cries. She sniffles. Rubs her eyes roughly. Her mother wraps an arm around her and starts whispering words of comfort. You have no idea what that comfort would be since it was her father that had died. You remember the day you lost your parents. You felt utterly defeated at the time. Hopeless. Swallowed by darkness. Your eyes rubbed raw and stinging from crying and crying and crying—

David opens the bible and reads. His glasses are perched innocently above his nose. His voice, despite the rasp of time, still carries that melodic lilt. You don’t listen. Refuse to.

“And I saw a new heaven and a new Earth. For the first heaven and the first Earth were passed away. . .”

You close your eyes with a stuttered breath. Your body is thrumming. Your legs shaking and heart pounding. These are the most painful times for you. The times where you have to listen to him and pretend to be moved by God’s will. You hate hearing his voice. The same voice that told you you were his. The same voice that commanded you to strip for him completely when it was only your arm that was wounded.

Your pulse quickens. Your cheeks grow warm.

You can’t breathe. You can’t breathe.

It happened years ago but it doesn’t matter. No matter the passage of time it still feels like it happened yesterday. His touch on your cheek. The way his blue eyes ate you up as he stalked around you, pretending to be worried while he was just taking in the sight of your body. A soft touch here and a soft touch there. Knuckles following the curve of your spine. Palms feeling the weight of your behind. The memory makes you sick. The way he was marinating you for something unspeakable.

He enjoyed when you flinched. Enjoyed the way you whimpered and curled away. He laughed and did nothing else. He wrapped a bandage around your arm while you remained stark naked. Then he left. Leaving it to James to come to the room, telling you to get dressed while averting his eyes.

You jerk, eyes going wide as a sharp cry echoes within the thin walls.

“. . . And I heard a great voice out of heaven say, ‘Behold… the tabernacle of God is with men. And God shall wipe away all tears from their eyes—’”

He’s trying hard to ignore it. You can tell by the way his lips twitch ever so slightly, his nostrils flaring with annoyance when another cry is heard.

He stops.

And your heart stops along with it.

You’re still afraid even when his anger isn’t directed at you. Cold beads of sweat make you feel clammy and gross. You want to hide. And even though you blame him, you want to move closer to James, hoping that whatever it is that’s going to happen, he can shield you from it.

David turns his gaze towards Hannah and Joyce, Hannah’s mother, and lets out a sigh as if it pains him to see someone so distraught.

“I’ve read this passage too many times,” He walks towards Hannah, his brows slightly furrowed and eyes full of rue. He places the book on the table and removes his glasses, placing it above it. You’re surprised when he kneels but your stomach twists as he places a hand above Hannah’s knee. She’s unaware, her bottom lip trembling. “Do you remember what comes next?”

She shakes her head.

“‘And God will wipe away all tears from their eyes… ‘that there will be no more death, neither sorrow, nor crying, neither will there be any more pain… for the former things are passed away.’”

Your eyes move to the crowd. Everyone holding on to one another, eyes red and wet. Hannah takes a sharp inhale, your gaze promptly landing back to the scene.

“Do you know what that means?” She nods and when she does, David grips her shoulder. “Good.”

He exchanges a glance with the mother and stands up, a groan dropping from his lips as he does so. You feel a momentary satisfaction at his discomfort.

“When can we bury him?”

The question surprises everyone, including David who doesn’t show it. The only oddity is him looking at James, a gaze so quick and short that if you hadn’t been sitting next to James you would’ve missed it. “The ground is too cold to dig. We’ll bury your father in the spring.”

Hannah seems content with the answer for now. The sermon is over when David opens the doors. His eyes linger on you as you get up, slow and groggy. Despite her recent loss, you find Hannah to be lucky. At least she had someone to protect her for a good while, her body free of being viewed as an object that belonged to someone else.

You don’t look at either James or David as you leave. Not that it mattered. They were too busy talking amongst each other.

You wipe the snow that catches over your eyelashes with the back of a gloved hand. Everyone had a job to do and yours today was to chop wood in the freezing weather. You hate the feeling of shivering and sweating at the same time. It’s a disgusting feeling. But you were the youngest of the group—and had fallen out of favor with David, which meant that he didn’t try to get into your good graces by giving you the stay-by-the-fire duties. Not that you missed it. You’d rather freeze to death than give any part of yourself to him.

Your feet drag over the snow. Your biceps ache with the added weight of the firewood within your arms. Breathing from your mouth, your eyes are drawn to one of the sheds. That place always gives you the creeps. It’s always locked. The windows dusty and blocked by cabinets from the inside so no one could see. You never thought of asking what the hell was in there, no one else did either. Everyone just wanted to survive. A herd of sheep following the blood-stained mouth of their leader. Not that they knew he had a blood-stained mouth. That information was only reserved for his victims and James.

A log slips from the top and you loudly groan towards the sky. You need to leave this hell hole. You don’t know when. But you have to.

Just as you lean down you sense someone coming towards you at full speed. Jumping, you move back only to see James huffing and puffing with a small package in his hand. You raise a brow. “Weren’t you supposed to be hunting?” you ask, picking up the log. “What the hell are you doing here running like a maniac? ‘Scared the shit out of me.”

“David is at gunpoint.” Good. “And the crazy girl demanded some medicine. Hopefully, I can sneak up on her.”

You scoff, “A girl? Since when does David follow any kind of demand?”

“It’s complicated.” He looks uncomfortable, you must’ve struck a nerve with that. “She’s with the man that killed Alec.”

“You’re taking medicine to her? Actual medicine.”

“David said. . .”

You raise a hand and shoo him away, “Just go. I don’t care.”

Watching him leave, your brows knit tightly together. This had to be a joke, they found the girl and by proxy, the man who killed Alec and. . . David is helping the girl? You don’t necessarily care for revenge— but the fact that he’s actively wanting to show just how kind he is to this girl is suspicion-worthy. He likes what he sees and pulls a curtain over his true colors to obtain it. You know word of this will come out soon. You’re positive that James told at least one person when he went in to get the medicine. It would spread like wildfire.

And most of the people here, starving and cold with no warmth left in their chests are hungry for the heat of revenge.

Just like you had predicted rumors were spiraling.

You’re sitting someplace unnoticeable and near the windows. Snow hits the glass like heavy rain. The clear panels freezing over, you visibly shudder. Your decades-old jacket isn’t enough anymore to keep you warm.

Your head turns with another whisper coming nearby. Something about a girl being with the man who killed Alec. Your eyes shift to Hannah and her mother sitting in the middle, the young girl seemed furious, her eyes hardened but still carried a juvenile chubbiness in her cheeks. The look doesn’t suit her. It looks like a drop of blood on top of snow. No one is touching their food. Steaming bowls of meat sitting on top of weathered tables. You’re not hungry so you push it away. You’re hoping with every fiber in your body that they haven’t found the girl. You wouldn't wish David on even your worst enemy.

The doors open with a loud, bone-chilling creak. You jump at the sound. Soft flakes of snow hurry inside, melting as soon as the light touches them. James holds the door open for David and the latter, with great effort, drags a large stag inside. The entire room stops breathing, their eyes glued to the scene, their minds full of questions.

The door closes. Suddenly you feel trapped and suffocated.

“Big one,” David says, looking towards the tables with a crooked smile. Not even one person is talking now. Just deafening silence. James moves away quickly, his eyes find yours, and takes a seat next to you. You’re not sure why he hovers around you. Maybe in some sick way, he thinks you’re friends?

David sighs loudly, bringing your attention back to him. “If you’ve heard a rumor… yes, we found a girl who was with the man who took Alec from us. When the sun rises, I’ll lead a group out to pick up her trail. Won’t be hard to find in the snow. We’ll follow it to wherever they’re hiding… and we’ll bring that man to justice.”

“You should kill him. You should kill both of them.”

David’s head snaps towards the vengeful voice. Your blood freezes, a tingle settling at the base of your neck, your skin grows taut over your muscles. You’re afraid. And your fear only grows when David stalks towards the girl, a faint smile on his lips, he removes his gloves. One by one. His movements slow, unrushed. He stands in front of Hannah, briefly stares down at her—

You flinch at the sound. The loudest smack and thud you’ve ever heard. Your eyes widen, heart beating in your throat as your eyes remain glued to Hannah who’s scrambling on the floor. David seems unbothered by it. Like he hadn’t just backhanded a young girl. The mom stands, murmurs getting louder, without thinking you attempt to get up too, thinking of all the ways you can kill the man.

But James—fucking James—he stops you with a hand on your knee. You give him a disgusted look and he quickly pulls his hand away. But the damage was done. You settle back, the chair groaning underneath you.

You watch as David halts the mother with a single hand, gently gesturing her to sit back down. She does—she does and it drives you insane. It’s surreal almost. There’s a loud hum in your ears as David kneels next to Hannah, her eyes looking anywhere but him. Scared, she takes David’s offered hand. You feel sick. Your stomach churns, bile rising to your throat. He helps her up and sits her down. He’s still on his knees, his eyes soft.

Disgusting.

“I know you think you don’t have a father anymore. But the truth is, Hannah, you will always have a father. And you will show him respect when he’s speaking.”

Tension rises with his words. You can tell from the brief glances that happen behind David’s back. However, it’s not enough. No one does anything. They just sit and wait as Hannah’s mother brings David a bowl of food. They begin to eat, the rest follows.

Spoons clink. Wind blows. Birds caw.

You look down at the meat, clutching the fork in your hand. You can’t. Something disturbs you. James also lingers before he takes the first bite. Something in his eyes makes you rather starve than taste.

You look back at Hannah. Her bottom lip is trembling, her cheek red.

She eats.

“Where is she?”

David’s eyes glimmer with amusement, his teeth showing as he smiles. You’re out in the open. Snow falling all around you. Your chest squeezes. You can barely breathe, yet your chest continues to rise and fall.

“Is my little lamb jealous?” Heat simmers under your skin. How fucking dare he? “Head back. This doesn’t concern you.”

“Like hell, it doesn’t,” you snap. His eyes narrow and for a brief moment, your mind flashes images of him tying you to the bed whenever you swore. A nasty shiver crawls up your spine. “Let her go.”

“And why would I do that?” he shakes his head. “Do you want to know why I never touched you again? I got bored. I knew I could have you whenever and wherever I wanted. The fire in your eyes died. You had no fight left in you.” he chuckles. You’re trembling now, your legs feeling weak underneath you. “And I enjoyed seeing the fear in your eyes whenever I entered the room. . . wondering. . . thinking about when I would finally make you my own.”

You don’t know what to say. The snowfall picks up in pace. Hurling, dancing around you both. A sign of a storm. The cold kisses your cheeks. David grins and extends his arms towards the sky, you take a step back.

“I finally found myself a pet that’s fun to play with. Someone that won’t be so easily broken.”

Broken. Broken. Broken.

That’s what you are, isn’t it? Broken. Alone. Unwanted.

You have to get to the girl and get the hell out of here.

You lift your chin, “You’re sick.”

Bad move. His nostrils flare with anger as he grips your chin and forcefully brings you closer to his face. As someone who went on and on about you being too submissive for his liking, he sure as hell seems to hate that you’re defying him.

“Don’t you dare talk back to me,” he spits, squeezing your jaw until your lips part with a whimper. “I'm the one who saved you and spared you. I’m a good man but never forget that you belong to me.” Without hesitation, he cups you between your legs. You stiffen at the touch, fear chills your skin, feeling little pins needling into your muscles. “You’re mine to break and when I do, you'll love it. And you'll finally be a woman.”

He doesn’t linger. Leaving you, he disappears between the cabins. You collapse to the snow, shaking, trembling and tears flooding your eyes. You fist at the snow, your fingers becoming numb as it melts between your fingers. You were a fool to think that you were safe. You genuinely thought that after so long he’d let you do your own thing within the community. But no. He still had his eyes on the “prize”.

You want to run into the forest but you can’t. Your eyes fall to the ground where his footsteps are perfectly visible. Now you know where the girl is.

The door that is always locked is open.

Your brows knit together as you observe the old wood swaying back and forth due to the wind. Your skin is icy cold. Coming closer you see that the lock had been broken, shattered. You see a spray of blood on the snow and that entices you to take a step forward into the dark cabin. You know you shouldn’t be taking any detours. Your backpack is secured tightly against your back filled with essentials and some sentimental items you gathered during the years. You should go. But you’re curious. You have to know what’s been in this shed for all these years.

You sigh. Curiosity killed the cat.

“But satisfaction brought it back,” you murmur.

You pull out your gun, your finger on the trigger as you explore. It seems pretty standard. Some items, lots of dust—

Two large hands shove you roughly against the wall. You choke, all the air leaving your lungs as your gun is knocked out of your hand. Momentarily you’re pulled away and slammed back against the wall again, this time the back of your head thudding against the wood. You groan in pain. Your body screaming at you to run and hide.

“Where is she?” you hear a man hiss through gritted teeth. “Where the fuck is she?”

You’re slammed once more, tears prick the corner of your eyes and you barely manage to raise your hands.

When you finally manage to open your eyes, panting heavily, you see a disheveled man. At first glance, he doesn’t make you feel that you’re in danger—which is an ironic feeling considering the throbbing at the back of your head is his doing. Lines run across his face, his eyes full of worry and anger. You immediately know who he is. There was only one girl after all.

“You’re—” you swallow. “You’re him.”

His hand tightens around your throat and a gun is hastily pressed against your forehead, “Tell me where she is or I’m shootin’ you.”

“I’m actually trying to find her myself,” you answer, which by the looks of it was the wrong this to say. “I—I wanted to help her. Free her. David. . . the man that took her—he’s a monster.”

His eyes narrow, “You from this community?”

“He took me in when I was sixteen,” you explain. “I had no choice but to join.”

“And why should I trust you?”

“Because I know exactly where she is,” you bite the inside of your cheek. “And I know that you’re hurt. I can help.”

“Then what?”

You shake your head, not understanding. He clarifies. “You help me and then what? What’s the catch?”

Your eyes blur with tears. You’re just so fucking tired.

“I just want to leave.”

Something about the way you whisper must’ve wake something in him because he lets you go. He lights the flashlight. “I ain’t in the business of takin’ in strays.”

What? “What?”

“Just leave. I don’t need your help.”

“You—You don’t understand!” Just as he turns you jump towards him, fisting the back of his jacket, the fabric isn’t soft enough for you to get a good grip on him so you grab his shoulder instead. “He’s a monster! Everyone fucking underestimates him—he’ll—he’ll—!”

He stills. Rushed steps coming to a halt. You think he’s going to shove you off, push you away but he’s glued. With the fear of silence, you pull back and step to the side. He’s still not acknowledging you. His hard gaze glued to where the flashlight is illuminating. You follow the light speckled with dust. Horror curling in your stomach like a hook.

There are three of them. Three bodies hanging like animals being prepared to cut into pieces.

“Oh god—”

You bring your hands to your head, your heart ramming into your chest, you shake your head. “No, no, no, no—” You take a step back. The man rips his gaze away from the bodies, away from what it implies. You take another step back and another. You’re shaking, your eyes glued to the floor. He—David—he fed you people.

Fucking people. People that you knew.

Finally, the scent hits you. The smell of flesh and blood.

You scream.

The man is on you in an instant, you tumble to the ground and he goes down with you willingly. “Shit—no no no. Shut the hell up— shut the hell up.”

The knot that forms in your throat is large and uncomfortable. You bawl your eyes out, hiccuping against his chest. He takes you into his arms and you can’t be bothered to think of the why of his actions. His biceps tighten around you. You’re still shouting, still thrashing around, crying—he presses you further into his chest, muffling your sounds. You vaguely hear him shushing you, telling you it’s gonna be alright. Lies. He’s telling you lies.

You start to quiet down and only then do you begin to make sense of his words. He’s murmuring bits of his life. Of what he’s seen. You finally learn the name of the girl: Ellie. The thick baritone of his voice is like a melody. It soothes you. Maybe not fully. But it helps calm your raging heart. You breathe. He smells like wood and snow.

“Thank you,” you manage to whisper, pulling away. “Please let me help you.”

“Yeah—Yeah, you can help.” He guides you to your feet in a way that your back is turned to the bodies. Just the thought of what's behind you makes your lungs cave in.

“What’s your name?” you ask, desperate for any kind of distraction.

“Joel.”

“Alright, Joel,” you head towards the door. “Let’s go.”

She escaped.

You can’t help but be impressed at the sight of an empty cell. But the pride for a girl you haven’t officially met dies in your throat when you see who’s against the wall, covered in blood.

“You knew him?” Joel asks, his tone lacking any kind of grief. A question asked more so as a courtesy than actual worry.

You stare at him. His blue eyes now lifeless, lips parted. It almost looks like he’s sitting, just taking a rest on the cold floor. It would be easy to make you believe that if it wasn’t for the cleaver sticking out of his neck.

“No,” you answer dryly. Yet, you still walk to the dead man and gently close his eyes. You warned him this would happen. Joel doesn’t ask any more questions. He doesn’t have to. “We need to find her before David gets to her.”

Joel immediately rushes out, you following him close by. You feel utterly useless. You have no idea where Ellie might’ve run off to. It doesn’t help that some part of your brain is still occupied with James. You hated him in a way but still, he was there. You’ve known him nearly your entire life. It felt off to be the one to close his eyes.

The storm had stopped. The sun reflecting from the snow irritating your eyes. Joel seems to be getting irritated with every step. Desperate.

He’s the one that sees her first.

Ellie staggers out the large building currently being engulfed in flames. Her walk is uncoordinated, her steps uneven as she breathes in the icy air. Before you can warn Joel not to startle her, he’s already running, grabbing her by the shoulders. Your heart shatters into a million tiny pieces when you hear her screams and shouts.

“It’s me,” Joel says, cradling her face with both hands. She hits his chest with sideway fists, he holds her more firmly. “It’s me.”

You see it in her face, the exact moment she realizes. You see blood splattered across her face, her expression hurts you. It’s the same expression you’ve seen on yourself for years.

“Hey… look. It’s me… It’s me. It’s okay.”

She mumbles, “He—” Before Ellie can complete the sentence she wraps her thin arms around Joel, the man hugs her tight. Your heart shatters then. The damns you were so adamant on keeping locked being teared down by people you barely know.

You cry. Salty tears just bursting out of your eyes. There’s no slow build, no single tear and then the rest. It just all comes down flooding. Your shoulders sag, your fingertips numb.

“It’s okay. It’s okay, baby girl. I got you.”

You sniff and look up to the sky. Fuck. It’s so hard to stop when it begins. You see grey smoke rising into the crisp air. He’s dead. You don’t need to see the body to know that he is.

Your eyes drop to the two survivors embracing infront of you. That girl saved your life while you were trying to save hers. You were too late. Both of you were. She looked the beast in the eye and slayed it. Freeing you.

They part and Joel quickly wraps his jacket around her tiny trembling shoulders. You’re empty. What now? That was his question. You don’t know. Do you go back? Do you explain to the people who David manipulated just how horrendous he really was? Would they believe you?

Your eyes are drawn to a flicker of movement. Joel is looking straight at you. Ellie still unaware of your presence and you can’t blame her.

You’re lost.

But then his eyes soften with something akin to understanding and he gestures you to follow.

Like a lamb to a stream, you do.

#joel miller x reader #joel miller x fem!reader #joel miller x f!reader #joel miller fanfic #the last of us fanfic #pedro pascal characters #pedro pascal character fanfic

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