All in all, written for fun. Not trying to finnagle votes or anything. And I know you must have heard this a few hundred times, but thank you BoneyM for this wonderful quest! SV has stopped to hold its breath while this vote is going on, and it's not for nothing!
Alright.
Anybody who has not read the omake I took the quote above from
(A Boy and his Wolf), skip this post because I'm about to gush about it and you deserve to read it blind. While I haven't even come close to reading every omake in this thread, if I had to choose my favorite one so far, I'm pretty sure this would be it.
Anyways, Mandred's characterization was excellent and likeable, and the sense of boyish adventure was carried so strong that it wasn't immediately obvious that it was Mathilde's familiar in the first place - though I at least caught on by the time he was riding the fellow, lol.
But then comes the final scene... I'd call it whiplash, but after the consistently light tone it was more a sense of
unreality with the words on the page, as if at any moment the vague, abstract mentions of something bad happening would turn out to be something silly and overblown - aided in part by a held-over feeling from the childish intuition of all adults being in cahoots. But then it's rephrased as something terrible
almost happening, and my gut begins to drop as the scene stops matching up with any interpretation that says it's about to pull a jape, and Mathilde's entrance, grim as Heidi might have been, drops any possibility of melodrama into freefall.
The boyish joy of adventure and mischief was conveyed well in the other scenes - but here, in the opening of the only one where Mandred is not the POV, the shift in tone and careful wording shared with me a visceral feeling of disbelief to hold on to in understanding of what Heidi felt. 'What is going on?'
Specifics of the event itself are sparse - we don't know exactly what Alicia tried to do - but Wolf's involvement was pivotal. The earlier scenes take on a different light when you consider that Wolf
slept with Mandred, and Alicia went into Mandred's bedroom
while he slept and not only tried to drive Wolf out but had been trying to convince him not to sleep with the familiar for some time while secretly meaning him harm. That Mandred riding Wolf after Wolf slipped in just before his class ended was not just some moment of opportunity for mischief, but an
evacuation and literally taking him to ground. The first few scenes aren't
quite elegantly written enough for the second go through to support a tone consummate with Wolf's side of the situation now that we know, but there's enough there for the details to take on new and sinister light.
And the ending... I saw it coming as soon as it was shown that the white college patriarch was putting his thumb on the scale for who should do the screening, but it still gave me chills. '
If all other options fail, we may replace the head with the one white magister you trust: Egrimm van Horstmann'.
For whatever the plot may have been, Mathilde and Heidi were unable to decisively root it out; the immediate crisis is came and left in a flash, but the stakes and tension - theirs and mine - have only risen. They do not know what agents might remain, and what the cost of action versus inaction may be. And with that single name, now neither do I.
Bravo.
Anyways, updating my votes.
[x] Loremaster-at-Large of Karak Eight Peaks
[x] Bodyguard and Tutor to Prince Mandred