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Nemesis and Hurricane's Ideal World: Session 2
[The sky above is a deep, unnatural crimson, filled with roiling clouds and creatures that are a sickly oil-slick black. They writhe and wriggle like something out of a Lovecraftian nightmare; they have entirely too many eyes, and entirely too many wings, and when they open their mouths, they have entirely too many teeth]
[Below them, the city of Tokyo is half-shattered; above the rooftops, mechanized suits the size of people hover in the air, darting in out of the chaos, laser blasts and explosions and wickedly sharp blades fighting tirelessly against the endless onslaught]
[Until finally, the last creature falls]
[All at once, civilians flood the streets of the city; the lights come on in all the buildings, which somehow have become whole again, safe and unharmed. A cheer goes up from the crowd. Overhead, a stunning fireworks display paints the night with light and color]
[And they all lived happily ever after]
[The end]
THE HOUSE
[When you open your eyes again, you find yourself standing before a house]
[It's small but welcoming, and warm yellow light spills from the windows, seeming to promise somewhere safe and warm against the oncoming twilight. The smell of something savory cooking drifts on the breeze]
[A rope ladder leads up to the rooftop; surely from there, you'll get a good view of the surrounding area. But more importantly still, when it's dark, doubtless it will be the perfect spot for stargazing]
[In the front yard, a gaggle of small children squeal with laughter, engaged in an elaborate game of tag with two very excited dogs]
[Buried safely in your pocket, your phone beeps. If you chance to look at it, you will discover that a simple objective is displayed:]
[Find Hurricane and Nemesis, and convince them to return to the place where they belong.]
[From here, you can ENTER THE HOUSE, ENTER THE WOODS, GO TO THE RESCUE, or CLIMB UP ON THE ROOF]
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no subject
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[ -- it sure looks happy, though. ]
[ She wants to approach, probably to climb up high and get her bearings, but animals are often wary of her kind so she hesitates for a second. ]
...Great.
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. . . Another game, then? [ And his ears go flat. ] Like being inside those hearts I suppose.
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Before knocking on the front door to the house. ]
Hello. Is anyone home?
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A pity it is never that simple.
[Climbing up on the roof!]
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THE GENKAN
[The genkan is warm and brightly lit, with shelves to house your outdoor shoes]
[There are plenty of slippers out and available for use, as though a lot of guests are expected]
[From here, you can GO TO THE KITCHEN, GO TO THE CRAFT ROOM, GO TO THE TROPHY ROOM, or GO TO THE LAB]
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THE ROOFTOP
[From the rooftop, you can see all the way to the ocean. The house is centered on an island, and though the island isn't very big, the branches of the trees that cover it sway gently in the breeze, and the glint of the setting sun on the water brings you a feeling of deep peace. On the island's far side, you can make out what looks to be a statue; to the right of that, there's another building, though it's difficult to tell what it might be.]
[On the rooftop itself, you find two folding chairs and a haphazard stack of blankets, along with a pair of slim metal thermoses and a basket filled with snacks. Hurricane and Nemesis are lounging in the chairs, munching senbei and watching the sunset.]
[From here you can CLIMB DOWN FROM THE ROOF]
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[Sitting on the roof and watching the sunset.]
I’m not interrupting, am I?
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THE KITCHEN
[The kitchen is light and airy, with wide windows that let in plenty of natural light and gauzy curtains that ruffle softly in the breeze. The counters and cabinets are all of warm, pale wood, and the backsplash behind the sink calls to mind the blocks in a game of Tetris, all the tiles lively and mismatched.]
[A massive pot of chicken noodle soup is simmering on the stovetop, and a large platter of riceballs rests out on the counter. Everything smells amazing, and there's more than enough for you to help yourself.]
[On the front of the fridge, magnets hold up a haphazard display of photos filled with grinning faces: Hurricane and Nemesis watching a parade at Carnival, and feeding the seagulls at Pier 39, and crammed into a karaoke room with all of their friends, and posing in front of the Statue of Liberty, and buying chebureki from a street stall in St. Petersburg. In addition to those, there are easily a dozen photobooth shots, of them and everyone they love, full of colorful stickers and sloppy handwritten text.]
[In every picture, they look breathtakingly happy.]
[From here, you can RETURN TO THE GENKAN]
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something else following ideal worlds. ][ he looks around though, attempting to steal anything that could be used as a weapon. mostly knives, but he'll honestly take a fork or two. ]
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THE CRAFT ROOM
[The room before you overflows with lively chaos. Long tables bracket two walls, covered in a variety of pens, markers, paints, glitter, beads, scissors, and paper of all varieties. The far wall has been taken over by woodworking equipment, including a sturdy workbench, an electric sander, and smaller tools for hand-carving. The whole room smells pleasantly of sawdust]
[Scattered all across the floor are crafts in various states of completion. There are bright mobiles composed of origami cranes, lifelike hand-carved miniatures, elaborate wooden boxes, and countless other treasures besides. Each has been made with care; each has a tag painstakingly attached, with a name scrawled in sloppy handwriting, tied beside a tiny origami heart]
[On the desk, among all the lively clutter, is the jar that the hearts seem to have come from. It's half empty, but the hearts that remain are a riot of color, each tiny origami artwork bright and precise and dazzling]
[From here, you can RETURN TO THE GENKAN]
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THE LAB
[The room here is decidedly at odds with the aesthetic of the rest of the house; all around you are the sleek, futuristic white lines of what is undeniably a lab. A minimalistic black chair faces an array of holo-screens, and a long metal workbench has been taken over by tools and blueprints and intricate robotic parts.]
[A tall, blond woman in a lab coat and glasses, hair pulled back into a bun, is bent over a robotic arm, making adjustments with a screwdriver.]
[From here, you can RETURN TO THE GENKAN]
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Hey! [ throws her a wave. ]
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THE WOODS
[The woods are lovely, the oncoming night giving them a sense of deep and abiding peace. The only sounds are the rustle of wind through the leaves and the melodic trill of birdsong]
[Off in the distance, through the trees, you think you can make out a statue in one direction, and a building in the other]
[From here, you can RETURN TO THE HOUSE, GO TO THE STATUE, or GO TO THE BUILDING]
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It's such a shame we can't enjoy this, don't you think?
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THE REAL KITCHEN
[When you open the fridge, you discover that it's completely empty, save for a strawberry cake that's missing a slice.]
[All around you, the kitchen flickers, shuddering in and out of vision like static on an old tv screen.]
[You blink, and it shudders. Blink again, and it's gone.]
[The kitchen gleams, modern and chrome. A rack of knives as tall as a child is set into a long countertop, and pots and pans hang from above. There's a stove, a wood-fired oven and a modern one, and a walk-in freezer with a very prominent pad-lock. Someone has dropped a slice of strawberry cake on the floor.]
[If you have ever been to the House of Mirth, perhaps you recognize this place.]
[One of the cabinets, tucked against the far wall, has been wrapped up in chains. A heavy padlock hangs from it.]
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And then, because he cannot help himself, he moves to clean up the strawberry cake mess on the floor. ]
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THE STATUE
[The trees here curl in toward a wide and well-tended path. The grass is neat and trimmed, the air filled with motes of pollen that catch the late afternoon light like floating sparks of magic]
[At the end of the path stands a statue of two power suits on top of a pedestal, intricately and lovingly sculpted. The plaque beneath them reads: NEMESIS AND HURRICANE]
[Beneath that, it goes on to say: These valiant heroes saved the world with their brave and selfless actions. They are also just generally pretty cool.]
[Mounted into the pedestal is a touch-screen that promises to show the viewer highlights of the duo's best moments. There are round buttons on the screen, labeled with the numbers 1-4]
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—Heh, if it weren't for the present-tense, I'd think this was a memorial statue.
[ Gonna go ahead and hit BUTTON ONE. ]
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THE TROPHY ROOM
[Double doors open to a long hall filled with treasures–official-looking awards and gleaming medals commemorating valor in battle, or distinguished service on the field, or commitment to the safety of one’s squad. Prominent places on the walls are given to shadowboxes of the keys to the cities of Tokyo, and Mito, and San Francisco, way out overseas.
The far wall has larger trophies–the taxidermied heads of imps, and massive maws with too many teeth and too many eyes that look to be formed of snarls of hardened tar, and a ⅛-scale model of a bulky red power suit cutting down a mountain of dark tentacled monsters. A button on the jet pack makes the eyes and massive axe glow a bright green. It’s pretty rad, and surely you are duly impressed.]
[Looking upon them, it is difficult not to feel a hesitant flutter of accomplishment, especially with this physical proof of what all you’ve achieved.]
[There are plenty more trophies in the room, surely as impressive as this, or you can RETURN TO THE GENKAN.]
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Regardless, he will move to look at some of the other trophies and see if there is anything in particular that stands out. ]
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SOME TEXTS
To: Everyone
Soul for Sale or Rent: My speed seems *really* toned down in here too.
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To: Everyone
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THE CEMETARY
[As you step out from the woods, you see them: row after row of gravestones, some newer, some worn with time. Several of them have freshly disturbed soil.]
[The sense of peace that came over you in the woods has fled, leaving a dawning feeling of unease in its wake]
[With every step you take, you feel more certain that you ought to turn back. There is nothing here for you. This place shouldn't be here at all]
[From here, you can RETURN TO THE WOODS please return to the woods, you should return to the woods, there is nothing here for you]
[You can also APPROACH THE BUILDING]
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But he doesn’t. Instead he inspects the gravestones to see if he recognizes any names.
Let me know if he needs to roll something to will himself to stick around.]
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THE DUNGEON
[The space below the statue's pedestal is dark and damp - a dungeon, the walls slick with moisture]
[Thick metal shackles hang from the walls, dried blood splattered on the floor beneath them]
[A single white feather lies on the floor in the center of the room]
[You have no reception here]
[From here, you can GO BACK THE WAY YOU CAME]
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[You don't need reception to take pictures, do you?]
Angelo? Can you please fetch that feather for me?
[Her aibou shifts form back to the koboldling, and scuttles over to pick it up.]
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THE RESCUE
[Not far from the main house is a long, low building with dogs and chickens and a few young children chasing each other around in front. Songbirds flit in the eaves, while a flock of crows perch on the roof, cawing jovially at passers-by.]
[Looking around more closely, you may notice that many of the animals and children are living with scars or burns or missing limbs, not that it slows their play any. Regardless, it feels like perhaps those assembled here had nowhere else to go.]
[It feels like perhaps they could belong here, if no place else–like perhaps you could, as well.]
[From here, you can RETURN TO THE HOUSE, or GO INSIDE THE BARN(?)]
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THE LONG-TERM WARD
[The doors lead to a dimly lit hallway reeking of antiseptic and far too familiar anxiety.]
[Metal plaques next to each door list names such as Yosano or Eze or Johnson. ]
[Save for the dull beep of machines, it is extremely, unnervingly quiet.]
[You don’t belong here yet. You should just TURN BACK.]
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[ he's not turning back,
in fact... he's heading FORWARD. ]
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THE CHURCH
[The farther you walk, the more the light fades from golden hour into an uneasy twilight glow.]
[And there at the edge of the graveyard, you find a church.]
[The church is still mostly in one piece, though the stained glass windows facing you have all been shattered. Around to the side, you can just make out the shape of several open graves, dug into the hard soil.]
[In front of the church stands a man with a megaphone in long, white robes. Or at least, they used to be white. They’re kind of a sickly grey now, especially near the hem, where they’re so caked with grime they come close to black. He looks awful, haggard and grey.]
[He looks dead.]
[He lifts the megaphone and speaks into it:]
Therefore are they before the throne of God, and serve him day and night in his temple: and he that sitteth on the throne shall dwell among them. They shall hunger no more, neither thirst any more; neither shall the sun light on them, nor any heat.
[From here you can ENTER THE CHURCH do not, why are you even still here, no one should be here or RETURN TO THE GRAVEYARD]
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Regular zombies aren't bad enough, huh?
[ He would genuinely rather fight this man than be lectured about religion, but like, that's such a low bar. ]
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THE PARTY
[The sun has set. Up above, visible through the branches of the trees, the stars are out, the wash of the milky way stunning this far from the lights of the city.]
[Every table is bedecked with candles, and colored fairy lights are twined between the trees. The buffet table is laden with chicken soup and riceballs and yakisoba and mini hotdogs. There are steaming mugs of hot toddies and tall, cool bottles of ramune. For dessert, there is a dark chocolate cake that someone has plainly put a lot of care into making.]
[In addition to all the food, there are plenty of familiar faces. You recognize some of them: the current roster of Avante and Heart Soldier, plus many more long since graduated or transferred. There is a tall gangly girl in Zrael clothing, and a stocky older man in superhero fashion. D.Va is here, and Intensity, and Angel. So are B, and C, and Mori, and Mars, and Gold, and all the children from the rescue, and countless others besides. Nemesis and Hurricane are seated at the center table, bright-eyed and laughing.]
[Amid the lively chatter and the warmth of all the people you care about, it's hard to want to leave any of this behind.]
[By far, this is the best place you've ever been.]
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THE FINALE
[Perhaps too much has been said]
[Up above the trees strung with fairy lights, the stars are gone]
[The sky is a nightmare vision, a horrific dreamscape swallowed up by deep red and bruise purple, the colors radiating out from a central point like a spreading infection. The clouds crowd out any hint of the stars or moon, so thick they seem solid, and they churn and shift and pulse in ways that have nothing to do with the breeze.]
[Even as the sky darkens, a figure steps out from the darkness among the trees]
[A man with a scraggly beard, in tattered white robes, holding a megaphone]
[He raises his megaphone to his lips, and he says:]
Repent, sinners, and kneel before the throne of God. You have polluted this place with your foul presence.
I cast thee out!
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no subject
[Perhaps it’s the chaos, and the blood, and the pain]
[Perhaps it’s the fact that some of their friends are on the brink of death, barely holding on]
[But above the din of battle, you can make out voices:]
no subject
It wasn't supposed to be like this!
(no subject)
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