[ ...Wait, that's what he got out of it? It's a shame she doesn't get the reference.
But she anticipates them attacking. When Peter goes right, she goes left. While graceful, Rhea's movements are about efficiency; they're about getting in there and getting people down as quickly as possible. She goes for the man with the bat to disarm him, twisting his arm and getting him on the ground; she's turning to the next to strike him in the face and flatten him out.
Magic is an afterthought as she goes. She only uses it once, actually, when someone gets too close: a little heated electricity gives the man enough of a shock that he stumbles, and she kicks him. It's all very physical and not like Peter. He's some kind of natural.
At the last, she summons something into her hand and throws it in an arc of light, and..strangely, it looks like an arrow, which explodes in a painful burst of light when it collides with her mark, throwing him from his feet. Her eyes are on Peter, looking to watch his back. He seems to know what he's doing. ]
no subject
But she anticipates them attacking. When Peter goes right, she goes left. While graceful, Rhea's movements are about efficiency; they're about getting in there and getting people down as quickly as possible. She goes for the man with the bat to disarm him, twisting his arm and getting him on the ground; she's turning to the next to strike him in the face and flatten him out.
Magic is an afterthought as she goes. She only uses it once, actually, when someone gets too close: a little heated electricity gives the man enough of a shock that he stumbles, and she kicks him. It's all very physical and not like Peter. He's some kind of natural.
At the last, she summons something into her hand and throws it in an arc of light, and..strangely, it looks like an arrow, which explodes in a painful burst of light when it collides with her mark, throwing him from his feet. Her eyes are on Peter, looking to watch his back. He seems to know what he's doing. ]