Disclaimer❕I am in no way, shape or form a history expert, I just enjoy learning about history as a pastime, therefore created my following thoughts and analysis on the Volturi coven from twilight❕
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Whether it’s fan-fiction, general fandom head-canons or even the author of the book twilight, historical accuracy is hard and no I’m not someone who cares that much about it, but here’s my own thoughts on historical twilight takes!! (Mainly the Volturi coven)
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sam knew something was different about you long before he knew what you were.
it was in the little things at first. the way your footsteps barely made noise, how your eyes seemed to notice everything around you, how there were moments where you’d go completely still in a way that felt unnatural. not dangerous exactly—just... different. sam’s instincts had always been sharp, and something about you kept putting them on edge.
then he finds out you're a vampire.
for a while, things get complicated.
sam takes the protector role seriously, and his first reaction isn’t anger so much as caution. he’s thinking about the pack, about the reservation, about whether you’re a threat before he thinks about anything else. he watches carefully, asks questions, keeps his distance at first. not because he hates you, but because he can’t afford to gamble with the people he cares about.
but then time passes.
you don’t act like the monsters he expected. you’re patient with the awkward tension, patient with his suspicion, patient with the way his eyes follow every movement at first. you don’t snap at him for being wary, and somehow that gets to him more than anything.
because sam starts noticing other things.
he notices how gentle you are around people. how you always step back when you think your presence is making someone uncomfortable. how you look at the pack with understanding instead of resentment, even when some of them are still hesitant around you.
and sam starts feeling guilty.
because one day he catches himself realizing he isn’t watching you because he thinks you’ll do something anymore.
he’s watching you because he likes looking at you.
after that, his protectiveness hits in full force.
which is almost ridiculous considering you’re a vampire.
you could probably lift him with one hand if you wanted to.
yet sam still instinctively steps in front of you if something feels off, still reaches for your hand while crossing rough trails, still checks if you’re okay after things happen before remembering you’re literally harder to hurt than he is.
if anyone points it out, he gives them a look.
“doesn’t matter.”
because as far as sam is concerned, vampire or not, you're his person.
and once sam decides someone belongs beside him, that loyalty runs deep enough that species stops mattering a lot less than people think it would.
⸻
jared cameron
jared’s first reaction to finding out you’re a vampire is absolutely not graceful.
he just stares at you.
then—
“you’re kidding.”
silence.
“wait—seriously?”
more silence.
“seriously?”
because out of all the things he expected from you, ancient supernatural creature with fangs was nowhere on the list.
once the shock wears off though, his brain immediately goes somewhere completely different.
the jokes.
the endless, endless jokes.
“so if i cut myself chopping vegetables, are you gonna look at me weird?”
“if we watch vampire movies together, do you get offended?”
“can you turn into a bat or is that false advertising?”
you get maybe three minutes of peace before he thinks of another question.
but underneath all of that, jared actually adjusts faster than people would expect.
he’s wary at first, of course. the pack instincts don’t just disappear overnight. there are moments where he catches himself tensing automatically around you, moments where his wolf side and him are fighting each other a little.
except then he starts paying attention.
he notices how careful you are.
how you always seem aware of the space you take up around others. how your eyes flick away if someone gets hurt, not because you’re tempted, but because you don’t want anyone thinking the worst of you. how there’s this tiny sadness in you whenever people look at you differently after finding out.
and jared hates that.
because suddenly it’s not a vampire.
it’s you.
you, who laugh at his stupid jokes. you, who sit with him for hours while he talks about absolutely nothing. you, who make him feel normal in a life that stopped being normal a long time ago.
so eventually he stops treating you like something dangerous.
instead, he starts treating you like you.
which also means he becomes ridiculously comfortable around you.
way too comfortable.
he’ll throw an arm over your shoulders without thinking, grin at you while saying, “c’mon, vampire, keep up,” even though you could outrun him in a heartbeat.
and honestly? he kind of loves how ridiculous the two of you look together.
because there’s something funny about him acting protective over someone who could probably bench press a truck.
still doesn’t stop him though.
if anything, it just makes him more stubborn about it.
⸻
paul lahote
paul’s reaction to finding out you’re a vampire is... not pretty.
he smells you before he fully understands it.
that sweet scent hits him, his entire body goes rigid, and suddenly every instinct in him is screaming danger. his temper already runs hot on a normal day, so adding wolf instincts and vampire instincts crashing together? absolute disaster.
“you’re what?”
and the worst part is that he’s angry at himself as much as he’s angry at the situation.
because he already liked you.
he already knew your laugh, already knew the way you rolled your eyes at him, already knew the tiny habits he pretended not to notice. and now suddenly he’s being told that the person he’d started caring about is supposed to be the enemy?
paul hates that.
hates it because now his emotions are all over the place.
for a while he gets frustrated really easily—not because of you, but because his wolf side is constantly reacting before his brain catches up. he’ll accidentally get snappy, then immediately feel bad about it afterward. there are days where he keeps a little distance because he’s trying to get his own instincts under control.
except you’re patient.
you don’t push him. don’t get angry when he needs space. don’t act offended when he struggles.
and somehow that makes everything worse for him.
because now he feels guilty too.
then one day something clicks.
he realizes he’s watching you laugh at something stupid jared said and he has this moment of:
...oh.
oh, i’m gone.
after that?
paul becomes paul.
meaning the attitude comes back, the teasing comes back, everything goes back to normal—except now there’s this protective streak attached to it.
which is hilarious considering you're a vampire.
he’ll still pull you closer if things get crowded. still step in front of you if he thinks something’s wrong. still grab your hand to guide you somewhere.
and every single time someone points out that you could literally destroy him if you wanted to—
“okay? and?”
because paul doesn’t care.
you’re still you.
and if anyone expects him to stop caring because of what you are, they’re gonna be disappointed. very disappointed.
probably loudly disappointed.
⸻
jacob black
jacob’s reaction is immediate and loud, like everything about him.
he finds out, and there’s this split second where his brain just stops trying to be normal about it.
“you’re a vampire.”
not a question. more like he’s trying to force reality to confirm it.
then his jaw tightens, his posture shifts, and suddenly you’re looking at the part of him that was raised to see your kind as the enemy.
it’s not personal at first. it’s instinct. it’s history. it’s every story he grew up with crashing into the fact that you’re standing right in front of him.
and jacob hates that conflict instantly.
because underneath the shock, there’s also the part of him that already knows you.
the part that remembers you laughing at him, teasing him, sitting next to him like it was normal. the part that doesn’t line up with the “monster” label his brain is trying to force.
so he gets stuck in between.
for a while, he’s tense around you. not cruel, not fully distant—but guarded. like he’s constantly waiting for something to make sense again. there are moments where he’ll say something sharp and immediately regret it, then go quiet like he’s annoyed at himself more than anything else.
and then he watches you actually be you.
not a threat. not a story. just you.
you don’t act like you’re better than anyone. you don’t push. you don’t try to prove anything. you just… exist in a way that’s steady and calm, even when people look at you like you don’t belong.
and jacob starts to unravel a little.
because it doesn’t fit.
it doesn’t match what he was taught.
it doesn’t match what he feels when you look at him like he’s not a war he has to fight.
eventually, it becomes impossible for him to keep treating you like an enemy.
it just… stops making sense.
and when jacob decides something doesn’t make sense anymore, he’s not subtle about changing his mind.
he still argues with it at first. still mutters things under his breath. still gets frustrated when pack instincts flare up unexpectedly.
but then he starts doing the jacob thing.
he shows up anyway.
he walks you home anyway.
he stands between you and anything he doesn’t trust anyway.
“i don’t care what you are,” he says once, like it’s something he had to force out of himself to make it real.
then, after a pause:
“…you’re still you.”
and with jacob, that’s about as close to acceptance as it gets—loud, stubborn, and completely unwilling to let anyone else decide what you are to him.
⸻
quil ateara
quil takes the news in a very specific sequence: confusion, disbelief, and then an immediate attempt to process it like it’s just another unusual fact about you.
“you’re… a vampire.”
he says it slowly, like repeating it might make it sound less insane.
then he squints a little.
“…okay, that actually explains a few things.”
he doesn’t explode like some of the others, and he doesn’t fully shut down either. quil is weirdly good at staying in that middle space where he’s cautious but still you-focused rather than fear-focused. his instincts are there, sure, but he doesn’t let them run the conversation.
at first, he watches you a lot more carefully than usual. not in a hostile way—more like he’s adjusting his mental image of you in real time. there’s a quiet alertness to him, especially around situations where his pack instincts kick in, but he tries not to make it obvious.
and then something shifts pretty quickly.
because quil notices how normal you are with him.
you still talk to him like before. still respond to his jokes. still sit near him like nothing fundamental has changed in the way you treat him.
and that messes with his head in a good way.
quil is observant, and he starts piecing things together fast. you’re careful. controlled. you don’t cross boundaries. you don’t treat people like prey or play into the fear people project onto you. you’re just… present.
and he starts relaxing.
slowly, but noticeably.
eventually, quil settles into something surprisingly easy around you. he still has moments where instinct flares and he stiffens for half a second, but he shakes it off faster each time.
and instead of distancing himself, he does the opposite.
he stays close.
quil becomes the one who treats you like you’re still part of the group dynamic first and a “vampire” second. he includes you in conversations without hesitation, bumps his shoulder lightly against yours like it’s normal, and keeps the tone light even when other people are still figuring things out.
he’ll still joke about it sometimes—because he’s quil—but it’s never sharp.
“don’t bite me,” he’ll say casually if you’re standing too close, already grinning like he expects you to roll your eyes.
and the funny thing is, he means it less every day.
⸻
embry call
embry’s reaction is instant confusion first, then a very long pause where you can practically see his brain trying to refile everything he knows about you.
“…you’re a vampire.”
he says it flatly, like if he says it without emotion it’ll make more sense.
then he squints at you.
“…okay. that actually explains the quiet footsteps thing.”
he’s not the type to explode or get overly dramatic about it. embry goes quiet for a bit, more observant than anything, watching how you move and how you interact with everyone like he’s recalibrating his understanding of you in real time.
there’s caution there—he’s still a wolf, still bound to instincts that don’t love the idea of vampires. but embry is also grounded in a way that keeps him from jumping straight to hostility. he doesn’t like reacting before he understands.
so he watches. listens. waits.
and what he sees doesn’t really match the stories.
you’re not reckless. you’re not aggressive. you don’t push into spaces where you’re not wanted, and you don’t act like you’re above anyone. if anything, you’re careful in a way that makes him start to relax without realizing it.
embry also notices how you handle him specifically.
you don’t treat him differently after he finds out. no weird tension, no sudden distance, no expectation that he should either fear you or prove something to you. you just… stay the same.
and that’s what starts to shift things.
because embry is observant, but he’s also steady. once something doesn’t actively feel like a threat, he stops feeding it with tension.
so over time, the alertness fades.
not completely—he’s still a wolf—but enough that he starts acting like himself around you again.
he slips back into easy conversation. starts joking with you like before. bumps your shoulder lightly when he walks past, like nothing has changed. and when pack instincts flare, he’s more likely to adjust his position than create distance.
he’ll still throw out dry comments sometimes, just to acknowledge the weirdness of it all.
“still not used to that,” he’ll mutter once, glancing at you with a faint exhale, “…but you’re not exactly what i expected.”
and that’s embry’s version of acceptance—quiet, cautious, but real.
⸻
leah clearwater
leah doesn’t react right away—not because she’s calm, but because her first instinct is to evaluate, not explode.
then she hears it clearly.
vampire.
and there’s a long, flat silence where her expression hardens in a way that makes it obvious she’s already thinking through every worst-case scenario.
“of course you are,” she says finally, like the universe personally did this to annoy her.
leah is not trusting at first. not even close.
it’s not just instinct—it’s history, experience, and the fact that her life has trained her to expect things to go wrong. so she keeps distance. she watches you closely. she doesn’t soften her posture around you the way some of the others eventually do.
if anything, she’s blunt about it.
she doesn’t pretend she’s fine with it just to be polite.
but she also doesn’t escalate it unnecessarily.
leah is practical about danger, and what stands out to her is consistency. you don’t act unpredictable. you don’t try to push past boundaries. you don’t behave like someone looking for trouble.
and that slowly starts to matter more than the label.
she also hates how much she notices that.
because she doesn’t want to adjust her worldview again. she doesn’t want another complicated thing in her life she has to emotionally file away.
but you don’t make it complicated in the way she expects.
you make it… steady.
you talk to her normally. you don’t flinch at her tone. you don’t try to win her over or tiptoe around her moods. you just treat her like a person, which annoys her in the most inconvenient way because it works better than anything else.
over time, her distance starts to shift—not disappear, but soften at the edges.
she still teases you, but it’s dry and grounded. she still watches you carefully, but it’s less like she’s waiting for something to happen and more like she’s just… paying attention.
and if someone else brings up what you are in a way that feels disrespectful, leah shuts it down fast.
no discussion.
no debate.
just a sharp look and a “drop it.”
because for all her resistance, once leah decides you’re not a problem, she doesn’t let other people turn you into one either.
⸻
seth clearwater
seth finds out and just… pauses.
not the tense kind of pause most people have. more like his brain hits a small internal reset while he processes the information without immediately assigning it fear or hostility.
“oh,” he says after a moment, blinking. “…you’re a vampire.”
there’s no accusation in it. just confirmation, like he’s checking a fact he didn’t expect but is willing to accept.
what comes next is curiosity before anything else.
seth has always been the most open of the pack, and that doesn’t change just because the word “vampire” enters the conversation. he looks at you with interest, not suspicion, like he’s trying to understand your world rather than judge it.
he asks questions—but careful ones.
not about weaknesses or threats, but about you. how things feel, how long you’ve been around, what your day-to-day is like. there’s no edge to it, just genuine interest and a kind of quiet respect for the fact that you’re standing right there trusting him with the truth.
there is instinct underneath it, of course. seth is still a wolf, still part of a system built on protecting his people.
but with him, instinct doesn’t turn into fear very easily.
it turns into awareness instead.
he adjusts quickly. not by distancing himself, but by being thoughtful. he pays attention to how others react around you and subtly makes space when needed, like he’s smoothing out tension before it can build.
and the most noticeable thing is that he never stops treating you like a person first.
not a category. not a threat. not a story.
just you.
he still smiles easily around you, still talks like nothing fundamental has changed, still sits near you without hesitation once he decides the situation is safe enough.
and if someone else gets weird about it, seth is usually the first to step in—not aggressively, but firmly.
“hey,” he’ll say, calm but clear, “that’s not fair.”
because for seth, acceptance isn’t something dramatic.
it’s just… deciding you belong in the same space as everyone else, and acting like it was always obvious.
the moment jane first lays eyes on you, it’s not dramatic but it’s intense.
you’re in volterra, visiting as a tourist, trailing behind your friends as they chatter through the stone halls.
the second she steps into the chamber and smells you, that scent, her entire body goes still. every instinct in her snarls with hunger.
her crimson eyes fixate on you. not on your face, not at first. on your neck. your pulse. she can hear it, like a song, like temptation woven into a heartbeat.
you’re her bloodsinger.
alec speaks to her, but she doesn’t answer. she just stares at you in stunned silence, completely thrown.
she almost kills you that night. almost.
her fingers twitch at her sides. she could end it. one scream, one bite, and the fire in her veins would be quiet again.
but she doesn’t. she’s furious with herself for not doing it. furious with you for existing.
from that point on, you’re a guest in volterra. “at aro’s request,” they tell you. but the truth is, jane demanded you be brought back to the castle.
she keeps you under constant watch. you think it’s for your safety. it’s not. she doesn’t trust herself to let you walk out and never return.
every time jane walks into the room, the air thickens. you don’t understand why.
she looks so cold, so composed, but something in her eyes burns when they’re on you. hunger, yes. but something else. longing. a war within herself.
“you should be afraid of me,” she says to you, low and dark, one night when you’re alone in the library.
“then stop looking at me like that,” you answer.
and she leaves. silently. like she’s running from the truth of it.
the slow burn is intolerable.
she gets angry around you more often. snaps at other guards. avoids speaking to you unless she has to.
but when you fall ill, just a fever, she’s at your bedside before anyone else even notices. she doesn’t leave until you’re better.
jane pretends to hate your presence, but when you’re gone for even a day, just a walk outside the castle walls, she’s unhinged.
she doesn’t show it, of course. but alec notices. her fingers twitch. her gaze is violent. her voice is tight.
“where is she?”
“jane, she’s literally going to get coffee.”
“then she can drink it here.”
when you find out what a bloodsinger means, you’re stunned. you confront her about it.
“so you want to kill me.”
her jaw tightens. her voice shakes for the first time.
“don’t insult me. if i wanted you dead, you would be already.”
“then what do you want?”
she can’t answer that.
her control is terrifying.
jane has more discipline than anyone in the guard, and yet… with you, she’s on the edge.
you drop something in front of her once, cut your finger on a broken mug. the smell hits her like a bullet train. you swear her eyes darken instantly. she leaves the room without a word.
at night, she lingers outside your door.
you never see her. but you start dreaming of crimson eyes and soft whispers and the pressure of a gaze through the walls.
one day, you open your door quietly and catch her standing there. staring. like she’s carved from stone.
“jane? what’s wrong? why are you here?”
she doesn’t answer. she just walks away.
the yearning is unbearable on both sides.
you fall in love slowly, cautiously. first through brief conversations. then through shared books. then through quiet confessions, late at night, when no one else listens.
“sometimes i think you hate me.”
“sometimes i think i do, too,” she says. “but i don’t want you to leave.”
the castle staff fear her, but you don’t.
and that terrifies her.
she’s used to people cowering, flinching at her presence. but when you meet her eyes, there’s no fear. no trembling. only curiosity.
she finds herself desperate to earn your gaze again and again.
aro teases her constantly. “you’re learning to care, little one,” he says. “isn’t love a terrible hunger?”
jane always stays silent when he says things like that, but you notice her hands trembling slightly behind her back.
she hates that aro sees through her, but she doesn’t deny it.
touch doesn’t happen for a long, long time. but when it does, it’s everything. just a brush of her fingers over your knuckles. electric. careful. dangerous.
she looks horrified afterward. like she might just break you.
but you don’t pull away. and she lets herself hold your hand for three whole seconds longer the next time.
when you ask about her power, the infamous pain she can summon at will, she goes completely silent. then, after a long pause, she says:
“i’ve never used it on you. not even when i first smelled your blood.”
and that’s the moment you realize how deep her restraint really goes. how hard she fights herself. every. single. day.
there’s a moment when you get too close. literally.
you’re showing her something in a book and lean over her shoulder, your breath brushing her neck. she doesn’t breathe for a full minute.
if you’d listened closely, you could’ve heard her heart break with want.
and when you move away, she bolts. you don’t see her for two days.
the first time you say you trust her, she looks like she’s going to cry. she doesn’t. but she leaves again, always when the emotions get too big.
it’s not power she fears. it’s you. how you undo her. how your voice makes her feel alive when she isn’t supposed to.
eventually, she doesn’t flinch when you touch her. doesn’t look away when you say her name softly.
doesn’t deny the fact that you’re hers, not in the way aro tried to twist it, but in the way she chose. in the way she fought her instinct for you. in the way she wants you.
“you’re my bloodsinger,” she whispers, pressing her forehead against yours in the still of her stone room.
“and you still haven’t killed me.”
her voice trembles.
“no. and i never will.”
if anyone else so much as looks at you the wrong way, especially humans visiting volterra, jane is ruthless.
she’ll walk into the throne room afterward with blood on her collar and no remorse in her eyes.
“he said your name like he knew you.”
“he was just being friendly.”
“i don’t care.”
jane hates sleep.
the reminder that she doesn’t need it, that she’s frozen in time.
but lately, she finds herself sitting at the edge of your room while you rest, not daring to touch you, not even breathing. just listening to your heartbeat, steady and human and maddeningly alive.
alec is the only one who truly understands what jane is going through. he watches her with quiet concern.
once, when he catches her watching you sleep (not in a creepy way, more like a reverent, admiring way), he places a hand on her shoulder and says, “she’s softening you.”
jane doesn’t deny it.
you read to her sometimes. you don’t think she’s listening, her expression never changes, but she remembers every word.
later, she’ll quote lines back to you unexpectedly, in passing, and you’ll blink at her in shock. she shrugs like it’s nothing. but she remembers everything about you.
you start to leave her little things. notes tucked into her books. a folded flower. a ribbon you wore in your hair.
jane never mentions them. but you’ll notice the ribbon tied to the hilt of her dagger one day, or your favorite flower carefully dried and pressed into her personal journal.
there’s a moment where you nearly die. an accident on the castle stairs, a too-steep fall. nothing supernatural. just a slip.
but jane loses it. she has you in her arms before you hit the ground. her voice shakes when she says your name.
you’ve never seen fear on her face before. now you have.
“i’ve killed for less,” she tells you once, eyes locked on yours. “but i’d die before i ever hurt you.”
she hates herself for how much she means it. you don’t.
she starts letting you touch her.
first her hand. then the crook of her arm. eventually, one day, you tuck a strand of her blonde hair behind her ear, and she lets you.
doesn’t flinch. doesn’t run.
just closes her eyes and stands there like your touch is the only thing holding her together.
when you’re away from her, even for a short trip outside volterra, she’s unbearable to everyone else. short-tempered. brutal. silent. alec has to step in.
“she’ll be back in an hour.”
“that’s sixty minutes too long.”
you call her “jane” like it’s soft, like it’s not the name everyone fears. it makes her feel like someone else. like the girl she once was, before the fire, before the volturi.
she’ll never say it out loud, but she cherishes the way your voice wraps around her name like a prayer.
she thinks about turning you. often. obsessively.
but not out of selfishness. it’s because she wants to protect you. keep you forever. be near you without fear.
she hasn’t asked yet. but she will. one day. when she knows you’d say yes, not out of love alone, but out of choice.
jane isn’t used to being understood.
most people are afraid of her, or they worship her power, or they try to control her like aro.
but you… you see her. you notice the way she looks away when emotions rise, how she clenches her hands when she’s overwhelmed.
you don’t push. you just stay.
and she starts to realize she wants you to stay forever.
you catch her staring sometimes. long, still stares like she’s trying to memorize you.
“what?” you whisper.
“nothing,” she says, voice low. “you just look… warm.”
she won’t admit that it’s maddening. the heat of your blood, the softness of your smile, the humanity she can never truly have… but wants to wrap herself in anyway.
by now, the entire castle knows jane is different when it comes to you. she doesn’t try to hide it anymore.
you speak, she listens. you ask, she gives. her temper cools around you, but it’s not because she’s less dangerous.
it’s because every time you look at her, she melts.
jane doesn’t flirt. she devotes, quietly.
she lingers by your side when you’re anxious. silently appears when you’re reading alone. keeps guard outside your room every night without ever being asked.
when you ask her about it, she just says,
“no one else will protect you like i can.”
…and she means it.
she talks to you more now. but only in private.
her voice is always low, not because she’s whispering, but because there’s too much behind her words.
sometimes you catch her staring at your lips when you speak. she looks away immediately. but the next time? she doesn’t.
she confesses by accident. in a whisper.
after a sleepless night, she shows up at your door. shoulders tense, eyes wild. she doesn’t come in. just stares.
“this has to stop,” she says, voice low and shaking. “i can’t do this anymore.”
your heart twists. “do what?”
her eyes flick up to meet yours. blazing, broken.
“feel like this. need you like this. i—” she cuts herself off, jaw clenched.
“i love you. and i don’t… i don’t know how to survive this. i can’t control it. but i need it. i need you.”
you pull her into the room. and she lets you.
she’s trembling, this ancient, dangerous creature, shaking like a girl in the dark.
jane touches your face like you’ll vanish.
“you have no idea what you’ve done to me,” she whispers.
“i think i do,” you say softly.
she doesn’t mean to kiss you that night.
she shouldn’t. every instinct screams danger.
but you’re close. too close. you’re whispering her name like a prayer and a curse. and when your fingers thread into hers, warm, soft, alive, she breaks.
the kiss is not gentle.
it’s trembling hands and parted lips and years of restrained hunger finally snapping.
she grips your waist like she’s afraid you’ll disappear. one hand cups your jaw, the other clutches your back. her mouth crashes into yours with too much desperation to be graceful.
she kisses you like she’s never going to stop, like she physically can’t.
she pulls back only to stare. pupils blown wide, lips parted, like she doesn’t believe you’re real. her voice is wrecked:
“tell me to stop.”
“don’t,” you whisper. “don’t you dare.”
so she kisses you again. slower. deeper. like she’s claiming every piece of you she’s spent centuries convincing herself she couldn’t have.
and for the first time since she became a monster… jane feels whole.
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If anyone and I mean ANYONE has hunger games fanfic where the reader or main OC is from the capitol. GIVE IT TO ME!! Like Finnick x capitol female OC. I’m hungry for it.
They don’t exist I swear, like a capitol OC who loves the glitz and glamour but is still forced to face reality. Sorta like Effie. Preferably set in catching fire.
Demetri New Moon - Duality of Diplomacy and Violence
Demetri first appears in the alleyway, instructed by Aro to bring two potential law-breakers back to him. Even in this tense and dangerous scenario with violence looming over everyone, Bella’s first impression of Demetri is his ‘soothing’ tone. This is no doubt a tactic to control the situation and discourage any rashness on Edward’s part.
"Felix merely meant to point out the proximity of the sun," the other shadow said in a soothing tone.
Even when Edward is refusing his request, Demetri continues to play the role of a ‘polite’ shadow who resembles ‘reasonableness’. Indeed, his request does seem reasonable - they 'merely' and ‘simply’ want to ‘speak’ somewhere less conspicuous.
But simple requests should have simple consequences - you don’t kill someone for refusing to comply. Him masking the underlying threat under the pretense of reasonableness when bringing someone back for trial is manipulative and calculating.
The second, more reasonable shadow cautioned. "Not here." He turned to Edward. "Aro would simply like to speak with you again, if you have decided not to force our hand after all."
It also shows that he is not someone that relies entirely on his vampire strengths and animalistics instincts (very common for vampires), and instead understands the politics of the hunt.
A readiness to kill:
What impresses me the most is how quickly he is able to shift from politely negotiating, to being ready to literally kill Edward and Bella, and then immediately return to his polite demeanor once Alice points out the human witnesses. He is able to evaluate the most suitable course of action in a split second, and adjust accordingly. This is not a simple task, as many hunters need to actively get into the mindset to kill.
I imagine this is a requirement for his job, where he is often the first point of contact with the accused, and would be forced to make a split second decision to either give them a chance to attend trial, or take swift actions to eliminate them if necessary.
‘No doubt, he would be a fighter. There was no other way he could have survived so long, always at the spear point of any attack. And he must always lead, because he was their tracker. (Breaking Dawn).
Therefore, Demetri is either someone who is able to calmly negotiate even when he is ready to kill, or someone who is able to quickly shift into a killing mindset. Either is equally impressive and dangerous.
Cruel Detachment:
“Nice fishing” (In reference to Heidi bringing back the group of tourists for the Volturi to feast on).
It is one thing to completely disregard humans, it is another to joke about the mass-killing of them. I am not a vegetarian myself, but if I were to go to a farm and meet the cows that will to be sent to the slaughter house for the BBQ I’m throwing, I would not feel comfortable joking about it.
To me, this is Meyer’s way of emphasizing the cruelty of the Volturi vampires, and using Demetri, who was the voice of reason, to make this comment really reinforces the point that even the most polite of them exhibits a callous detachment. It draws an interesting parallel to Alec’s interaction, where we are once again presented with a stark contrast between a vampire’s outward civility, and their inner detachment. It somehow drives the point more so than using someone like Jane and Caius.
Casanova of life?
Charlie Bewley, the actor portraying Demetri, once described the character as a “casanova of life.” However, there is nothing in canon that indicates this. In fact, I believe his proximity with Felix, who appears to be the actual casanova, would make this more difficult.
I imagine his tracking ability and Felix’s combat capabilities make them the perfect duo (find and eliminate), so the two would often work together. The persona Felix takes on is a flirty and impulsive muscle, and he often times might have to engage in conducts to reinforce this brute image (more on Felix in a later post). Therefore, Demetri would need to play the role of a mature, cautious leader, as seen in New Moon. This includes laying low and cleaning up Felix’s mess - to also participate in a promiscuous lifestyle would draw too much attention. I do think Demetri needs to be charming and sophisticated for his job, which might give the illusion of him being a ‘casanova’, but he's got too much responsibility to actually indulge in this lifestyle.
However, this is mostly my take on the limited information presented in canon. I would not be entirely surprised if he does turn out to be more promiscuous. It just means he is able to balance work with pleasure better than I give him credit for.
Unlike most of the Volturi guards, Felix does not possess a ‘gift’. He is instead kept around for his combat and battle techniques. In a coven that rewards powerful and unique supernatural gifts, and appears to be hierarchical with cloak colours prominently displaying everyone’s ranking, this would not be a comfortable position to be in.
I do not think Felix is easy to replace, hence why he is still a high-ranking member; to survive this long in the Volturi he must have demonstrated exceptional skills. However, he is replaceable because it is possible to overpower and supersede him through training and hardwork. Without a supernatural power like most other guard members, he will constantly need to fight for his position and prove his worth.
“If there had been one better, the Volturi would have traded up. Aro didn’t surround himself with second best.” (Breaking Dawn).
We know at least one other permanent member who relies on their battle skills for a position in the Volturi (Santiago), and I do think Aro actively cultivates a competitive culture amongst these combat vampires in order to incentivise them to work harder and keep them on their toes.
A way to regain power and control:
Consequently, it makes sense for Felix to seek power elsewhere to regain his self-worth. In this case, it manifests in the form of a flirtatious persona, and an almost ‘impulsive’ lust for bloodshed.
1- Flirting: Felix consistently adopts a promiscuous and flirty act. We see him flirting with Gianna in New Moon, with Bella at the end of Eclipse, and during the confrontation in Breaking Dawn.
“As Felix passed the desk, he winked at Gianna, and she giggled.” (New Moon)
“Felix looked up. He let his hood fall back slightly so that I could see him wink at me and smile.” (Eclipse)
“Felix chuckled. “You look good. Immortality suits you……” “Felix winked.” (Breaking Dawn).
I do not think he is genuinely attracted to them - he would happily murder them…Instead, he flirts because he can. It enables him to regain a sense of control, and with his otherworldly vampire beauty, most human women would reciprocate. For a vampire in his position, this constant validation would be flattering.
2- Fighting: Felix craves violence, and when appropriate, he actively provokes opponents to initiate a fight.
[Edward]: "Then I'm afraid that I'll be unable to accept Aro's invitation, Demetri."
"That's just fine," Felix purred. (New Moon)
This makes sense because combat is an area he excels at. It is his way of proving his worth to the Volturi, and again, to exercise control over his opponents.
Underestimated Intelligence:
However, although his actions might fuel his ego, Felix is not blindly impulsive, and behind all his actions there is always a greater purpose for the benefit of the Volturi.
He only provokes when it serves a purpose, and when he’s fully in control:
In the alleyway confrontation in New Moon, his violent threats serve as a part of his and Demetri’s ‘good cop, bad cop’ psychological tactic.
Later in the book, his provocation of Edward occurred deep within the Volturi layer, in the presence of Alec and Jane. Any rashness on Edward's part would not only be futile, but would also give the Volturi more justifications to prosecute them, if Aro wishes. Luckily, Alice also recognises this.
“Edward only smiled, his expression contemptuous. Then he froze.
‘Dibs,’ Felix called casually from behind. Edward turned, a low snarl building deep in his chest. Felix smiled—his hand was raised, palm up; he curled his fingers twice, inviting Edward forward.
Alice touched Edward's arm. "Patience," she cautioned him.” (New Moon)
In Eclipse, he ceased all his teasing when confronted with Cullen's strength against the newborn army. This is a situation that went against his expectations, and with only five Volturi members present, he knew better than to irrationally provoke anyone.
“Eighteen, including this one,” Carlisle answered. Jane’s eyes widened, and she looked at the fire again, seeming to reassess the size of it. Felix and the other shadow exchanged a longer glance. (Eclipse)
He is always professional and alert:
He was one of the three vampires Aro chose to accompany him to meet with the Cullens during the confrontation/battle. Indeed, his professionalism really did shine through.
“Hello again, Bella.” He grinned cockily while still tracking Jacob’s every twitch with his peripheral vision.
“The brawny ones, Felix and the others like him, focused their suddenly hopeful eyes on me. They had not been sure of what my shield repelled, but it was clear now that it would not stop a physical attack” (Breaking Dawn)
This brief glimpse into Felix in action highlights why the Volturi keeps him around. He is an observant and professional soldier who could simultaneously distract their opponents while keeping his own focus. He is always on high-alert, which is a stark contrast to his impetuous and unconcerned persona. He is also able to think strategically and adjust battle plans immediately.
Felix purposely creates this illusion of an irrational muscle who relies on his physical prowess to trick opponents into underestimating him. This is an effective tactic, as Felix was conveniently forgotten about by the Cullens and their allies when everyone was devising their battle plans in Breaking Dawn. In reality, he is much more strategic and complex. After all, he was one of the few remaining survivors from the battle-that-didn't-happen.
Although Alec only had a few lines of dialogue, his blatant disregard for human lives is obvious - more so than some other blood-drinking vampires.
His first line was:
"they send you out for one and you come back with two...and a half."
when referencing Jane bringing back Edward, Alice and Bella. Here we see some of his 'dark' humour shine through, but it also highlights how little he thinks of a human's worth compared to vampires.
After examining Bella, he skeptically asked Edward:
"And this is the cause of all the trouble?".
By refusing to use the pronoun 'she', Alec further creates a sense of detachment; objectifying her and reducing her into a mere entity and situation to be dealt with. Even Felix, who acts as the 'bad cop' in the scene and has consistently expressed a keen interest to eat Bella, referred to her as 'the girl'.
Unlike Felix, I do not think Alec is saying these things to intentionally provoke anyone. I think that his disregard for humans is so deeply ingrained that he genuinely find the situation preposterously amusing. Alec is someone who keeps up appearances (this is the person who spoke to the Cullens with so much ‘warmth…like lifelong friends' once Aro found them to be innocent). He’s too smart to engage for the sole purpose of angering Edward and humiliating Bella.
This indifference and disregard for humans is interesting. Compared to other 'bad' vampires like James, Victoria, Laurent, who were tempted by Bella's scent, viewed her as a toy/challenge, or the key to revenge. Or Jane and Caius, who openly despise Bella and saw her as a threat, inconvenience, or a mockery of the law, Alec gives us nothing. He is able to objectify Bella and tease her worthlessness, and then speak to her as a lifelong friend within the span of a few hours. It is quite terrifying. Perhaps an extension of his gift?
Alec most exhibits what Stephenie Meyer said about how vampires view humans:
"To most vampires, humans are like a herd of cows."(twilightlexicon - 2006/04/18)
"Other Twilight vampires see humans as beef or poultry." (twilightlexicon - 2007/05/20)
"Human lives are so short—sort of like fruit flies that only live a day in comparison." (twilightlexicon - 2007/05/20)
Imho, most twilight vampires give humans more time of day than I expected. You don’t get angry at a herd of cows, and you don’t waste time humiliating a fruit fly; you simply don’t care for their existence.
I have a similar post talking about their origins and what languages they would speak (I’ll admit that was my first Volturi post and my knowledge on their era was limited), buckle up and prepare for typos as we explore their 19… 19 languages!! In my opinion!!
So first of all their native tongue would be Mycenaean Greek. This is the earliest form of the Greek language, Linear B script used. (1350-1200BC).
Next would be Greek dark age dialects. (1200-800 BC) These were more regional so for example Attic, Doric and Ionic. They emerged after the Mycenaean Greek writing system vanished. (In a future post I can analyse where each of them came from in Ancient Greece, though by this era they were already united, further away from their individual origins). That being said I think Attic Greek (was used also in classical period to 300BC) as it was most used by the Athenian Empire, set the foundation up later for Koine Greek, provided all the standard structure for all Greek philosophy and literature would be their most commonly spoken one followed by ionic Greek which is useful in a historian lense and the dialect of both Homer and Herodotus. Would also know Doric Greek which wasn’t just reserved for the Spartans but also towards southern Italy and Sicily which have have helped them in their relocation. Another interesting point would be they probably knew Arcadocypriot Greek!! This was the closest direct descendant of Mycenaean Greek language. While not as politically important they probably knew Aeolic as well.
Old Latin/Archaic Latin. I think they would be familiar with it before relocating to Italy. For political purposes and general interest.
Now entering the era of Koine Greek. After Alexander’s conquests, koine became an international dialect of the Mediterranean. (300BC-500AD) It would have been a primary tool and given the time slot of them overthrowing the Romanian coven it would have been used.
Even though they were probably established in Volterra Italy, I imagine they kept up with Byzantine Greek (500- 1453 AD).
Etruscan. Tuscany at the time (800BC -50BC) wasn’t really under Roman rule. So they would be familiar with Etruscan as they relocated in that period.
Classical Latin is a crucial one, the golden age of Latin as it was used in the works as Cicero and Caesar. This would definitely be the language of their court and law! (1st century BC- 3rd century AD)
Vulgar Latin was a more commonly used Latin and although not used in court or ceremonies they would also probably be familiar with it. (200AD- 800AD)
Old English which emerged from Anglo saxon tribes and jutes that migrated to England (450 AD to 1150 AD). They wouldn’t have used it a lot. To them it would sound barbaric. However if a talented vampire was to emerge from the British isles (wink wink.. Jane and Alec). They would know enough.
Old Italian/ Tuscan dialect would also be crucial for them to know as-well given their position. It would have been easy to transition into from Latin.
Middle English would have been easier for them to understand and I think they would have actually learned this one. It had strong Latin and French linguistic roots. (1150 AD- 1500 AD).
Modern Greek, while they wouldn’t be experts in it, I believe they would still be familiar with it. Taking in the fact that modern Greek since 1453 AD has evolved a great deal of its own, I won’t go into specific dialects or eras.
Early modern English would have defiantly grabbed their attention now due to Britain’s colonial power. Also Carlise in Volterra would have been in this era. The language of English was spreading rapidly so it would make sense they know it. (1500-1800AD)
Late modern English (1800-now). We know they have used this, and I beileve their way of speaking it would be more formal than the average English speaking person today.
Modern Italian would also be a language they would know, for the secretaries and locals would speak it making it crucial for use, even if not their preferred language. (1861-present).
Any languages they would be familiar with they I don’t think I will count in the final tally would be ancient Romanian, a form of Egyptian, French and Spanish.
Spelling mistake and grammar errors are to be ignored 🥲 this was typed all up on my phone in under an hour.
Disclaimer❕I am in no way, shape or form a history expert, I just enjoy learning about history as a pastime, therefore created my following thoughts and analysis on the Volturi coven from twilight❕
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I need more people to talk about the Volturi and their lore! Like do people understand we have these vampire kings that are born in THE Mycenaean era in Greece!? Do we understand how old that would make them??
Like what would their religious views be? Do they still follow certain customs from their time? And do we really understand how much of history they would have seen, AND experienced??
And not only that, they fought and overthrew the Romanian rule! I yearn for more people to share their thoughts and opinions on them so let this post be your invitation the actually share themm:)
I’ll have to make a post on their religions !!!! I remember trying to research where in Mycenaean Greece they would be from and found some interesting theories, that will have to be my next post !!! From there I think religions would be easier to theorise.
I need more people to talk about the Volturi and their lore! Like do people understand we have these vampire kings that are born in THE Mycenaean era in Greece!? Do we understand how old that would make them??
Like what would their religious views be? Do they still follow certain customs from their time? And do we really understand how much of history they would have seen, AND experienced??
And not only that, they fought and overthrew the Romanian rule! I yearn for more people to share their thoughts and opinions on them so let this post be your invitation the actually share themm:)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality
Anya is LIVE right now
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Free to watch • No registration required • HD streaming
My Roman Empire is that most of the Volturi member’s names in twilight wouldn’t be their actual given names.
◽️Aro: Akrodamos, Aristandros or Arandros.
After some googling, Aristandros seems the most plausible? Meaning “Best man” or “Excellent Man”.
Aro’s era was Mycenaean Greece. Their script was Linear B, this offered the first written records of the Greek language and from what I’ve read Aro would be a shorten version of Aristandros.
◽️Caius: Kassondros, Gaius
So Caius is actually a Latin name (Gaius), it wouldn’t have existed in 1300 BC and certainly not in Mycenaean Greece. Caius probably would have changed his name. After some more googling, the authentic Mycenaean Greek name that could have at least evolved or be changed into Caius would be Kassandros.
◽️Marcus: Areimenes, Makhawon.
Again Marcus is from Latin origin 😭 If we take the Roman god of war, Mars, the equivalent in 1300bc Greece would be Ares. Following that, it could have been Areimenes. However if you want the same “Ma” sound then Makhawon is more fitting, derived from the word makhe meaning “battle”.
◽️Jane: Iohanna, Jehanne.
The name Jane didn’t exist until centuries after 800AD (when she was born). She was born to an Anglo-Saxon woman and Frankish soilder father. Iohanna would be rare in Anglo-Saxon England, but her father being Frankish could bring in some Latin names. This name would have evolved into Jane. Jehanne is the older French form of Iohannes. The name would have still been uncommon but with Frankish influence could be plausible? Only issue is most Jehannes are documented way later than 800 AD.
◽️Alec: Alexander/Alric.
OK HEAR ME OUT!! Alexander would have been rare for English commoners but with his father being a Frankish soilder, a more Roman sounding name like Alexander would have fit. Frankish empire obsessed with Roman heritage so it could have fit? But a more Saxon name would have been Alric, more acceptable for locality. Personally I like both, I suppose Alric would fit better historically.
Disclaimer❕I am in no way, shape or form a history expert, I just enjoy learning about history as a pastime, therefore created my following thoughts and analysis on the Volturi coven from twilight❕
You'll pamper me to pieces. You'll make me tender, by force.
Jane volturi x Fem reader
synopsis : Jane is known for her foul mood and grin to sadistic like pleasure. Many pitied you, believing her to be a selfish and cruel lover. However, only you knew she held back, a lot. Finally, one day you manged to convince her not too
⸺ warnings : MDNI, lesbian yearning for her girlfriend thighs around her head, cunnilingus, fem reader, ooc Jane probably... Overstimulation. I wrote this instead of sleeping...and I've been awake for two days straight so if this doesn't make sense... nuh uh.
Darling, I'm not doing that to you" Jane's tired tone caused you to let out a loud groan as she stared at you over her book.
"Pleaaseeeee, I've never asked for anything... today, I would just like to see you let go, Your always so careful, I just want you to take what you want" Looking at you Jane raised an eyebrow at your response, that look alone made your thighs softly squeeze together. She was giving in.
"Next time, I'll indulge your weird fantasy next time" YES.
The air's thick with tension and nervous excitement, wet greedy kisses that threaten to overwhelm you interlock between you and Jane. Her mouth keeps brushing yours every time you pull away for air, as though the thought of your lips not being connected with her's for than five seconds is incomprehensible.
You're sitting prettily on her laps as Jane kisses you like a starved woman, hands placed firmly on your lower hips, lips moving against yours in a way that's toeing the line between slow respect and pure neediness.
When you pull away for air, Jane barely gives you time to regain your focus before she leans in again, kiss deepening, like she's trying to memorize the feeling of your lips against hers. Almost like she's nervous.
Your fingers curl into the soft fabric of her uniform, material rubbing against your bare chest as a shallow whisper of her name leaves your mouth and that's all it takes for her to lose her restraint, with a deep groan that sends heat rushing to your core, Jane moves. The world tilting as she guides you back softly until your shoulders hit the bed, mattress softly catching you.
Staring up at Jane, you can see her face is set. She's thinking. And your world's tilting again.
You're on top on her; thighs braced on either said of her lower stomach. Jane's flat on her back, her hands trying to tug you roughly upwards pulling you up, so you straddle her face. You lean your hands on her shoulders, softly stopping her movement.
"Ja-Jane, what are you doing doll?" Your voice barely registers to her, you're still wearing that stupid Victoria secret panties, her eye softly twitches.
"I'm trying to enjoy myself but apparently Victoria's secret is somehow always getting in my way... every time."
The cold air hits you before you can fully register it, the distinct sound of fabric ripping reaches you next. she ripped them.
"Jane! those were expensive!" "I'll buy you more, hell I'll buy you the store. right after I enjoy myself first. Now sit on my face."
Her hands tug you forward, this time you follow.
You sink down without warning, knees hitting the bed as your thighs bracket her ears. The second your dripping cunts meet her mouth; Jane lets out a deep groan that vibrates straight to your core, heat curling deep in your stomach. Tongue pushing past your folds as her nose bumps against your clit.
Her hands unapologetically sink into your hips, fingers digging in hard enough that you can already feel the marks forming, she's yanking you fully down, vampires have no need to breathe at all, and she's reminding you of that.
Ignoring her attempts to make you move faster, you grind slowly at first, finding a rhythm. Lifting your hips when it becomes too much, she chases you, scowl deeping trying to drag you back to her.
"Jane, please its to much" you whine, watching her through your lashes, fingers digging into the matress as Jane gives nothing but a passive responsive hum.
