[That wasn't how this was supposed to start. But there's no point in protesting that fact, it's too sharp of contrast to how Alucard is carrying himself at the moment. There's no allowance for vulnerability, and the guilt that's about to well up inside him has to be pushed aside. The only thing left to do is to tap into the more inhuman part of him that can lay out every inch of this with a detached clarity.
So he does. Begins with how he learned what had happened and then how he journeyed to Târgoviște. The decisions made on the way, such as that between destroying the bishop or rescuing his mother, the second one was much more important. That if there was a way to get his mother out that meant his own life, that was an acceptable risk. Damage would be minimized if at all possible because that would be his mother's expectation. Each step showing where there was a thoughtful choice or just Ţepeş logic. A 75-25 split, really.
It's easy to talk about until the death count begins. He's always known that it's too much for his mother, not enough for his father. He's matter-of-fact about what things happened, but there's little said about particular injuries or methods of death. Only that as he moved forward, there were moments of rage that meant more clean up for whoever found the body. The death wasn't the point, they were obstacles.
There's a curious lack of detail about the state Alucard found his mother in. Nothing about bindings, about the cell, anything except that he made it, and by that time was half painted in red. His father doesn't need those details, he just needs to know that bindings were seen to and that they got away.
From the cell onwards, it becomes easier again. Perhaps it's because Alucard assumes his mother has shared some of the details herself. Perhaps because it's so close to the end of the explanation. No matter what, it ends the same way. The horse, the castle, and now this discussion.
And with it all laid bare, Alucard braces himself.]
no subject
So he does. Begins with how he learned what had happened and then how he journeyed to Târgoviște. The decisions made on the way, such as that between destroying the bishop or rescuing his mother, the second one was much more important. That if there was a way to get his mother out that meant his own life, that was an acceptable risk. Damage would be minimized if at all possible because that would be his mother's expectation. Each step showing where there was a thoughtful choice or just Ţepeş logic. A 75-25 split, really.
It's easy to talk about until the death count begins. He's always known that it's too much for his mother, not enough for his father. He's matter-of-fact about what things happened, but there's little said about particular injuries or methods of death. Only that as he moved forward, there were moments of rage that meant more clean up for whoever found the body. The death wasn't the point, they were obstacles.
There's a curious lack of detail about the state Alucard found his mother in. Nothing about bindings, about the cell, anything except that he made it, and by that time was half painted in red. His father doesn't need those details, he just needs to know that bindings were seen to and that they got away.
From the cell onwards, it becomes easier again. Perhaps it's because Alucard assumes his mother has shared some of the details herself. Perhaps because it's so close to the end of the explanation. No matter what, it ends the same way. The horse, the castle, and now this discussion.
And with it all laid bare, Alucard braces himself.]