#Wh audio tapes

[cozmicclown]

WELCOME HOME TRANSCRIBED: #1 Howdy & Poppy

This is a fan-made transcript of the first Welcome Home secret bug audio clips. I took great care to ensure the dialogue is as ACCURATE as humanly possible. That being said, any visuals or actions taken by the characters are generated through my own creative presumptions. I already have #2 and #3 written out, so I’ll be posting more of these. These are a fun exercise to practice script writing. Plain text version of the transcription is below. Enjoy!

1 - INT. POPPY'S BARN - DAY

POPPY, BIGGEST NEIGHBOUR, CHICKEN AND SWEETHEART, SITS KNITTING IN A HUGE ARMCHAIR AMIDST BALLS OF YARN OF EVERY COLOUR, OCCUPYING EVERY AVAILABLE SURFACE.

POPPY (Mutters to herself in concentration)

Oh, stitch. Dropped a stitch again...

HOWDY, LOCAL MULTI LIMBED CATERPILLAR SHOPKEEPER, ALSO LOCAL PUSHY SALESMAN, IS HEARD APPROACHING POPPY'S HOME.

HOWDY (O.S.)

Delivery here! I've got a deliver here for one Ms. Partridge...

HOWDY APPEARS IN THE HALF OPEN DUTCH DOORS OF POPPY'S HOME, BROWN PAPER WRAPPED PARCEL IN HAND, AND CONTINUES HIS SPIEL.

HOWDY (CONT'D)

Courtesy of Howdy's dependable, door to door to door delivery service!

POPPY (Light surprise)

Oh! Oh my feathers, Howdy! You frightened me.

POPPY SETS DOWN HER KNITTING AND CAREFULLY APPROACHES THE DOOR.

HOWDY

Terribly sorry ma'am. 'Suppose I shoulda knocked?

POPPY

Oh, no, no, that would have frightened me too.

(Nervous laughter before excited OH!)

Oh! Is that my order of yarn? Thank you.

POPPY TAKES THE PARCEL FROM HOWDY AND STOWS IT UNDER HER WING.

HOWDY

It sure is Poppy. Hot off the shelves, just the way ya like'em.

(Notices all the yarn laid about inside)

Boy, looks like you already gotta hoard that'd make a dragon jealous.

Whatcha need even more yarn for? Not that I'll turn down a sale, heh heh.

POPPY GIVES A SOFT LAUGH AT THE JOKE BEFORE SPEAKING.

POPPY (light stuttering)

Oh, I'm just working on some scarves and sweaters and such. I want everyone in the ne- neighbourhood to have something warm to wear in-when, you know, winter comes along. Feels like these changing seasons keep sneaking up on me, heh.

HOWDY

Hah, I hear that, not enough daylight ta get everything done. Course, it helps ta have an extra pair of hands!

HOWDY CRACKS UP AT HIS OWN JOKE AND POPPY AWKWARDLY JOINS IN SHORTLY AFTER.

HOWDY (CONT 'D)

'Seems like you know that already, though. I can see you've recruited an extra pair of your own today.

HOWDY GESTURES OVER TO THE PUPPET SHAPED YARN PILE SAT ON A POUFFE BY THE ARMCHAIR. A PAIR OF YELLOW HANDS STICK OUT, PINK YARN NEATLY COILED BETWEEN THEM. THE STRING RUNS FROM THE HANDS TO POPPYS CURRENT KNITTING PROJECT.

POPPY (Referring to the yarn pile)

Oh, heh heh, yes. Thank you again for your help dear. And thank goodness for it, I was worried I was going to get all tangled up with all these colours of yarn.

HOWDY (In serious agreement with POPPYs joke)

Hmmm, I can see why, it's a real risk.

A MOMENT OF QUIET BEFORE POPPY TURNS BACK AND RESPONDS, SURPRISED AND NERVOUS.

POPPY

It- it is?

HOWDY

Well, sure. But lucky for you, I think I might have something ta help.

HOWDY REACHES INTO HIS APRON POCKET AND PULLS OUT A METAL DEVICE WITH A FLOURISH, IT'S ARMS SPINNING WITH A RATTLE, REMINISCENT OF A SNAKE.

HOWDY (CONT' D)

BEHOLD!

POPPY GIVES OUT A VERY FRIGHTENED, CHICKEN-LIKE SQUAWK! BEFORE STICKING HER HEAD UNDER HER WING IN FEAR.

HOWDY (Continues over a few more squawks)

N- no, no, nothing to fear here. What you're looking at is a bon-a-feeday yarn spinner. Perfect for keeping all your extra neatly spooled up.

HOWDY TURNS THE CRANK ON THE SPINNER TO DEMONSTRATE AS HE SAYS THE LAST PART, THE MECHANISM RATTLES AGAIN.

HOWDY (CONT 'D)

Safe. Effective. And...No pesky batteries or electricity to fret over.

POPPY PEEKS OUT FROM HER WINGS BEFORE TAKING HER FULL HEAD OUT SHEEPISHLY.

POPPY (voice shaking)

Well, oh, well, that-t does sound helpful, doesn't it?

HOWDY CUTS IN BEFORE SHE FINISHES HER RHETORICAL QUESTION.

HOWDY

Sure does! Here, heh heh, tell ya what, today only, as an extra special deal for an extra special customer, you can give'er a whirl, no strings attached. Well, no strings but yarn that is. Hah ha!

POPPY STARTS TO INTERRUPT HIM AT "BUT YARN THAT IS" AND CONTINUES TO TRY. SOMEHOW HOWDY GOT POPPY TO TAKE THE DEVICE FROM HIM.

HOWDY (Talking over POPPY)

Well, I've already overstayed my welcome. Got a whole shipment back at the shop I've gotta sign for.

POPPY

Oh, t-t ah- heh eh heh. Ehhhh, buuu-... oohh but - *exhales*, *inhales*, welllll, alright then. Oh.

HOWDY

I'll check in on you and your new wonder device next time I bring you an order Poppy. ‘Til then.

HOWDY DISAPPEARS FROM THE DUTCH DOOR WITH A TWO HANDED WAVE. POPPY STANDS IN HER ENTRYWAY, PARCEL UNDER WING, AND BEGINS TO INSPECT THE YARN SPINNER.

POPPY

Oh, I don't know how to work these things but- well he was so insistent it'd be helpful, do you think you can help me figure this thing out WallE€*YY??

End Scene

[cat-mermaid]

if any Welcome Home fans want 2 get their minds blown, I invite u to to listen to some of the Teddy Ruxpin talking toy's books on tape

when I first got into Welcome Home (like maybe a year and a half ago) I accidently stumbled onto some old concept art from Clown's twitter while doing a google search, and i mean really old, like drawn4 years before WH started

that led me down a brief rabbit hole where i saw it mentioned by Clown on their twitter that Teddy Ruxpin was an inspiration for WH

oh i had a relation who had that I remembered

(i myself had a talking Micky Mouse knockoff that was essentially the same thing)

so on a damn lark i watched an old ass commercial for this toy:

and watching this it struck me

whoao i thought, that sounds a lot like Wally Darling

so then i recalled that just like my Micky talking doll, Teddy came with a cassette tape and books he would read, so i figured that I could find those on the youtubes

Babes, you will not even begin to comprehend the shock to my system when i heard the voices in this:

Does that Leota character not sound exactly like Julie Joyful?

I am goddamed 100% certain that Teddy Ruxpin was the main inspiration of the voices of Wally and Julie

there could be more to plum in the Ruxpin universe that relates back to WH but I'm not that big a fan that I would sit through hours of audio books/the cartoon to find any

hope ya'll enjoyed!

[yanderes-galore]

Can we get a Sammy x Reader for where they listen to the tape and when Sammy asks “Can I get an Amen” the reader actually says Amen? Thanks!

This'll be more like a reaction due to the nature of the request. I wasn't really sure what direction to take with this one ^^;

Amen

Yandere! Sammy Lawrence Short

Pairing: Romantic/Platonic

Possible Trigger Warnings: Gender-Neutral Darling, Stalking, Kidnapping, Violence, Delusional behavior, Religious themes, Slightly OOC (?)

Sammy had been watching you ever since you fell down to his level. Curiosity had taken hold of both you and him. You were interested in his audio logs... while he was interested in you.

You could make a divine sacrifice.

You listened with morbid curiosity to all of his little logs. Sammy watched you from behind corners and through walls. He didn't think much of you... another lamb to the slaughter.

"Those old songs, yes, I still sing them. For I know you are coming to save me. And I will be swept into your final loving embrace."

He hears his own voice echo through the room while you sit silently and listen. You had hoped listening to these logs could give you insight as to where you are. A story to put together while you find a way to leave....

All these logs a bible of Sammy's design.

You had no idea Sammy, the man of the tapes, was watching your every move as if he was judging your every action.

"But, love requires sacrifice..."

The recording pauses, leaving you to think to yourself momentarily. In a way those words were true....

"Can I get an amen?"

"Amen...." You agree, partially echoing it while you still try to process your situation. You probably didn't even mean it. You manage to surprise Sammy when you say it. Perhaps you don't need to be a sacrifice....

You just need to be shone the light of his savior!

"My savior... this lamb will prove loyal to you, I'm sure of it."

Sammy mumbles to himself, eyes eagerly watching you from his mask. The simple word that fell from your lips was enough to get him hooked. His rotten and inky mind was delusional enough to think you were just like him....

He was the only one who worshipped his savior. The studio was awfully lonely and you held potential.... Why kill this lamb when you can make them a pet to the shepherd?

You had no idea that by just saying Amen on accident to a tape would seal your fate. You were unaware of your new secret admirer. Not until he showed up behind you at one point...

Only to bash your head in with the handle of his axe.

Darkness quickly covers you, thick like ink flooding your head. The smell of thousands of inkwells didn't do anything to help your head pain. When you come to, you're tied in front of a madman.

"I was wondering when I'd recieve an answer to my prayers...."

He's giddy to see another person, especially you. He thinks you'll be a great servant to the ink demon. He just hopes his savior won't mind him sparing your blood....

"Wh-"

You pause your reaction to hiss in pain, your head throbbing. The smell of ink makes you feel as though you shoved Sharpies up your nose, it's worse when Sammy holds your face.

"You'll be perfect. I'll do everything I can to show you the path of my savior."

You can barely comprehend the religious nut's words. You only groan at the light and his touch. Sammy hums, noticing the damage he's done.

"Sleep, my sheep.... It appears I hit you a bit too hard. I promise when you awake, I will show you the way of my savior. You will be so much happier in his light... with me."

He lightly caresses your face, leaning closer.

"Now... can I get an amen?"

[my-t4t-romance]

pro tip: any of the shiny plastic parts of the sony WH-CH710N headphones (especially the ends of the headband and the inside of the swivel joint) are cheap as shit and prone to breaking very quickly. I was lucky to have kept them usable since christmas 2021 - most of the reddit posts I've seen about similarly broken sony headphones say they've only had em for six months to a year. one person who hadn't even taken theirs outside had it break apart from setting it down on a table! in my fruitless search for repair instructions, I found that this is an issue with a LOT of sony headphones. I've grown personally attached to mine from patching it together with spare electrical tape, and I was even going to order a pair of replacement ear pads once I fixed the swivel problem, but the tape-splint keeping its wrist from popping out again finally failed tonight. it's been way too much hassle wading through unrelated search results and useless support pages all night, and the main piece of advice I've been getting was to just replace the whole thing. I'd felt kind of excited to repair something with my own hands, and I was hopeful because the audio and noise cancelling still work fine. I mean I could just go to a Sony Support Center™ but fuck that overpriced proprietary nonsense. I think I'm just gonna put them somewhere out of the way until/unless I happen upon some amazing at-home tech repair advice. it's just maddening how otherwise salvageable it is >:(

[winged-unicorn-trash-can]

[M4F] Ill Met by Moonlight - Part Two  [M4A] [Fantasy-themed roleplay] [Drama] [Romance] [Inner-monologue] [Reverse Care]

Storyline- After the witch, Lucas, had found his sacrifice, he puts her to rest, and then he himself goes to sleep. After all, there are now only a few days left until the new moon and the night of the ritual. After a strange dream, Lucas awakes to find the Listener in good spirits and their leg nearly healed. Which was odd because Lucas had yet to fully heal that leg. As the two talk over breakfast, the Witch begins to worry if he can keep his little bird still in her cage.

Part One

Rules:

[ Not a rule, but I apologize in advance for any spelling mistakes you may find ]  

-Give credit to me, please, and thank you (Mystic Grove Audio)

-This script is free to use for monetization

-You can improvise and add things if you wish, like if you like a script but it seems to be tailored to a certain gender: change it so it fits what you like! But please, still give credit

-You can share the script outside of Archive, but again, please give credit

-If you make an audio/video, send me a link! I would love to see your work!

-Have Fun!

-------------------

[ There is a calm and soft wind blowing by; it's a spring morning, and the birds are singing off in the design. Someone is brushing Lucas's hair and humming ]

Lucas: [ In a soft tone, not sad but a little disappointed ] This is a dream… isn't it

Beloved: [ A little giggle ] Yes, I am afraid so. Are you disappointed?

Lucas: [ Deep sigh ] No��When I see your face, how can I be?

Beloved: Good, [ She leans down and kisses his head ] then let this dream continue in sweet bliss~

Lucas: For now, but it won't be a dream for long; I promise you

Beloved: [ Her tone of voice is soft but worried ] Lucas…please don't

Lucas: [ Nerves laugh ] What? What are you talking about?

Beloved: This ritual of yours, don't do it…please…

Lucas: But I'm doing it for you, for us. No longer will you haunt me in dreams, but you will be by my side, in flesh and blood!

Beloved: [Sad and worried] Lucas, please…

Lucas: It will be just like the days before [Pause, then said softer] before I lost you! We will be happy!

Beloved: [Angry sounding] Lucas!

[Beloved's voice is drowned out as there is a clap of thunder, startling Lucas awake]

-------

[If you don't wish to do or don't have any extra voices, here is an alternative way to open the audio]

-The alternative opening starts here-

[A soft, forest-like soundscape, bubbling brook and birds singing. That fades out as a thunderstorm rolls in. Then, a very loud crack of thunder startled Lucas awake. ] 

-The alternative opening ends here-

--------

Lucas: [Frantic] My Love!!

[There is a storm outside Lucas's cottage. The Cat meows in response]

Lucas: [Confused] That…that cat from before? [Takes a deep breath] How on earth did you get in here, my friend?

[Cat meows and hops off the bed; Lucas follows them into the kitchen where Listener is cooking]

Lucas: [Slightly surprised] My-my dear? What on earth are you doing up? You-You should be resting that leg of yours.

Lucas: [To himself] Her leg healed faster than I thought…I was sure I didn't focus on the healing spell that long-

[Lucas's stomach growls]

Lucas: [Slightly embarrassed] Ah! Forgive me...might I know what it is that you are making? It smells wonderful!

[Listener answers, they are making pancakes]

Lucas: Pancakes? [Surprise chuckle] Well, that is something I haven't had in many years; I tend to make simpler things for breakfast, porridge, and the like.

[More kitchen noise, the kitchen utensils taping on plates as pancakes are transferred onto a plate]

Lucas: Well, they look wonderful-

[Lucas gets cut off as Listener lightly smacks his hand away from the plate]

Lucas: [Caught off guard] Wh-what was that for? I thought you were done?

[Listener speaks]

Lucas: [Being shooed off] Okay, okay, I'll go sit down! [Slightly playful] Forgive me, my dear. I didn't take you for the bossy type.

[Kitchen sounds]

Lucas: [Inner thoughts] Something strange is at play here [Pause] That spell was only to ease the pain, but she still has a limp, so perhaps-[Cut off]

[Cat meows]

Lucas: [Annoyed 'Tsk]

Lucas: [Clearing his throat] My dear, how are you feeling? How is your leg?

[Listener speaks]

Lucas: Still sore, I see, Well! Then allow me to make you an herbal blend! Something that will help.

Lucas: [Inner thoughts] And something that should put you right back into that bed! I will not have you escape my grasp, not when the ritual night is close!

[Lucas gets up and walks over to his glass containers. Glass being moved around]

Lucas: [Under his breath] Damn it!

[Listener speaks]

Lucas: What? No-no, it's nothing. I just need to go out into the garden and restock a few herbs for that blend.

[Listener speaks]

Lucas: Ah, don't worry, my dear, the rain won't cause me to melt! [Short Laugh] I will be fine!

[Lucas walks, opens a door to the stormy outside, and walks out into the garden.]

Lucas: [Mumbling, annoyed]

[Rustling of plants, sudden thunderclap, and strike of lightning on a tree. A Branch falls onto Lucas]

Lucas: [Cry of pain] Ah!

[Ringing ears and the rest of the sounds have been muffled for a moment]

[Listener comes running out of the house]

Lucas: [Struggling a little] N-no, I am fine, just go back into the cottage- [Sharp intake] Ah! My-my damn shoulder!

[Listener tries to help]

Lucas: I said I was fine! I don't need help with my- [Angry] Don't touch me!! Get away from me! Go!

[Lucas shoves Listener and is trying to get to his feet, only to stumble and fall again]

Lucas: [Frustrated] Ah! Damn it!!

[Pause]

Lucas: [Bitter] I told you to leave me…

[Listener helps Lucas to his feet and leads him back into the cottage. Sitting him down on a chair, the fire sounding a little louder]

Lucas: What is that smell- [Shocked] The fire!

[Listener quickly runs over, trying to put the fire out, which they succeed in]

Lucas: [Bitter] What beautiful blessings the sprites give me! First, my shoulder, and now you almost burn my house down!

Lucas: [Sharp intake of air] N-no, I don't think it's broken.

[Shirt being removed]

Lucas: Wh-what are you doing?! I can remove my own shirt!

Lucas: [Grunting in pain, struggling with the Shirt] S-see?! [Letting out a gasp] Alright [Pause], fine, could you…please help…

[Shirt removed]

Lucas: [Grunt in pain] Y-yes, that doesn't look good-Ahh! Don't touch it!

[Footsteps]

Lucas: Where are you going?

[Glass containers being moved]

Lucas: [Taken aback] Well, yes, arnica and moon moss do work well with swelling

[Water being poured, and a wooden bowl is scraped, then the paste is applied to Lucas's shoulder]

Lucas: [Wince] N-no, you are being gentle. I just didn't realize how cold moon moss could be.

[Listener whispers something]

Lucas: [Surprises] What did you say?

[Listener says nothing, walking away]

Lucas: [Inner thought] That was most definitely a-[Cut himself off] No, no, that's not possible. No mortal would dare utter something like that, especially a child of a Witch Hunter. And yet…

Lucas: [Taking a sigh] Tell me, where did you learn about moon moss? It's not a common herb used by most mort-[Clearing throat] by most people. I once heard the Council call it the "Devil's Tears."

[Listener speaks]

Lucas: A friend? Keeping odd company, I see [Chuckle]

[Listener frowns]

Lucas: W-wait! I meant no offenses. I'm [Pause and sigh] sorry, I am sorry for many things. My actions towards you have been very uncalled for. I had no right to shove you like that or..or yell at you. And I am sorry my own brashness caused you to burn that wonderful breakfast.

[Plate being placed on the table]

Lucas: You say it's still salvageable? My dear, I say this with as much respect as I can muster. It looks like dragon droppings.

[Pause, before laughter]

Lucas: [Laughing] No? Then, by all means, why not take a bite?

[Pause, before crunchy chewing]

Lucas: [Playful] My dear, it looks like you are trying to swallow gravel. It hurts too much to watch, please. Stop.

Lucas: I can see that smile; you know I'm right

[Listener speaks]

Lucas: No, no, please don't apologize. It's quite alright. Here, let me check in the- [Tries to stand up, only wince in pain] Ah! Turned too quickly on that one.

[Listener speaks]

Lucas: I was trying to get up and see if I still had my jar of dried fruits in the pantry.

[Listener walks to the pantry and opens the door]

Lucas: My dear, please, let me look for them. I am the one who should be looking after you, not the other way around.

[Listener says they don't mind]

Lucas: Well, if you insist.

[Listener walks back over and opens the jar]

Lucas: [Deep breath] Ah, apricots, I haven't had these in ages, in fact [Pause, softly] I think this the last jar they made [Trail off]

[Listener asks if "they" was the one that used to go to the festival with]

Lucas: [Softly] Yes…they were the ones I used to go to the festival with [Pause], the one that isn't around anymore. Yes.

[Listener asks if they are dead]

Lucas: [Getting a little more upset] Yes, they died

[Listener asks how]

Lucas: [Upset] What are you?! A Red Inquisitor?! What business of yours to pry and pry!!?

[Listener apologizes, and saying they understand]

Lucas: No! No, you don't understand! You understand nothing!! [Braking down] You don't know what it's like to be helpless! You don't know what it's like to be afraid! To return to a pile of ash that was the home you had built together! To see…to see a corpse so bloated as it hangs in the tree that you can't even recognize those eyes you fell in love with! You understand nothing!

[Getting to his feet, wincing in pain]

Lucas: [Inner thought] But you will. I'll make you understand!

[Walking into another room, slamming the door, leaving Listener alone]

End of Part 2

[trcvelers-chcsen]

Anonymous asked:

[ Close walkman and press play. ]

QUEST STEP: INVESTIGATE THE MYSTERIOUS WALKMAN (complete)

"Give that walkman back, or I swear on all three of my fucking lives, I will-" they began to threaten, but it was too late.

The play button was clicked. The tape began to play. Knives was thrown toward the device, the exo desperate to destroy the offending material before it could reach their non-existent ears, but it was dropped to the ground to the ground in shock before it could be struck.

Apollo stepped back, their hands shaking uncontrollably as the recording on the tape played...

Two voices rung out betwixt the ratting of gunfire, and the high-pitched whines of energy weapons.

One has an electronic overlay. It's familiar. This is Apollo's voice.

The other is decidedly more organic. This voice is unfamiliar.

"...I thought I'd find you here," the unfamilar voice stated, almost fondly. "The fleet is almost ready. Come with us, Apollo. We'll explore the cosmos together, just like we always wanted!"

The shuffling of gravel and asphalt could be heard in the background, as though one of the two conversants had just stood up from a crouch.

"About that..." Apollo responded. "I see New Monarchy colors filing onto your fleet."

Gravel crunched beneath feet as the audio indicted that Apollo had turned to face the other voice.

"You all wanna ditch this planet 'cause the City was attacked, with a bunch of the traitors that fucking attacked it? How does that make sense?"

"I-I don't-" the other voice attempted to respond.

There was a pregnant silence, a muffled explosion bursts in the distance before the voice responds.

"Threes, darling, please..."

"Don't you fucking call me that, Set," the exo interjected. Their synthetic voice wavered. "Not unless you plan to stay."

"Wh... You know I can't do that, Apollo. You know why I can't do that, Apollo," the other person - Set - responded, putting emphasis on their name, faer voice getting closer.

"So you're just gonna cut and run, leave these people to die, because some troublemakers can't accept change?"

"The Last City is doomed, Apollo," Set barked back. "There is no future here!"

"We are Guardians, Set!" the Gunslinger implored the Stormcaller. "We've always made our own fate! We kill gods when we work together!"

Set gave a sort of watery half-chuckle.

"Y'know, I've always found that hopeful streak of yours beautiful, Apollo," the Warlock sniffled. "But now isn't the time for hope. It's the time for action."

"Then don't go!" Apollo begged, their voice cracking through their voice module. "Please... we can fight whatever comes for us... together...!"

There was a sniff picked up over the recording, though it was unclear who it had come from.

"...I'm sorry, Apollo. I just... I can't believe that. I want, to, but..."

"...But what, Set?"

"What if we die our final deaths fighting a losing battle...? I can't lose you, and I can't lose Starshine!"

Apollo let out a scoff.

"What if, huh? What if I go with you, and whatever is out there is more dangerous than what's gonna happen here?"

Another pause. A moment of silence.

"It's all a gamble, Set," they continued, their voice softer now. "Not even the Vex, with their Forge Worlds, and star-powered matrioshka brains have a perfect handle on the future. Not where it concerns the paracausal."

There's another sniff.

"I personally like my odds better here," Apollo finished. "And, I'd prefer that gamble if you were here with me."

A wavering, choked sob bubbled from Set. The crunch of gravel indicated Apollo, stepping closer to comfort their terrified human companion.

"Stay. Please... we'll take our future into our own hands. Stop the Darkness. Live here, on Earth, the beautiful blue planet humanity first emerged on!"

"I-I..." Set sobbed.

"I need you, Set... I need to gamble on us... BOTH of us... making it through this alive...!" Apollo implored.

"I..." the Warlock attempted again. "...I can't take those odds, Apollo... I'm sorry..."

The Hunter made a noise like they'd just been stabbed in the gut. And judging from the expression on the Present-day Guardian's face, it probably would've hurt less to be stabbed.

"...So that's it then...?" Apollo questioned, their tone shifting. "We're over...? Done in by fear, and a mutable future that has yet to come to pass?"

"WE SAW YOUR FUCKING GRAVE IN THAT PREDICTION ENGINE, APOLLO!" Set roared. "You, me, and Helios, listening to Saint giving your FUCKING eulogy!"

"I don't plan on dying any time fucking soon, Set! I don't give two shits WHAT some flawed supercomputer thinks is gonna happen!"

"It's all the proof I fucking need to know we're all dead if we stay here! If you die, who the hell can survive?"

Apollo swore under their breath.

"I've seen firsthand how bad the Vex are at understanding us!" The Gunslinger challenged. "And if you had half the fucking spine needed to see that, you wouldn't be running off to gallivant through the fucking stars with traitors!"

"Excuse me?!"

"I said what I fucking said. I can't believe I fell in love with a fucking coward."

"FUCK YOU."

"It'd be better than fucking talking to you at this point," they retorted. Gravel crunched as they turned away from their now former lover. "Goodbye, Set."

"N-no... W-wait- I didn't..."

Apollo, judging from the sound of footsteps, had begun to walk away.

"C-come back, please...!"

"...If it's any consolation, I really don't want you to die either... I hope you stay safe, wherever you end up going."

"Stop, Apollo... please just fucking stop...!"

"I love you, Set..." they croak. "But I have a world to save. And you said yourself you can't take that gamble on me."

"No...!"

"I'm sorry."

Set's desperate sobs slowly began to turn into a building growl. The sound of footfalls stopped.

"Wh... my radar turned..."

A sound like thunder boomed through the recording, and the buzzing of electricity became the desperate wail of a jilted lover.

"What...!?"

There was a shuffling and skidding, a stretched boom, familiar to Guardians as the dreaded sound of an incoming Chaos Reach, followed by a second boom, and the familiar ring of a single shot of a Golden Gun.

And all.

Goes.

Silent.

"...A... poll... o..."

"N-no..." the exo's voice rung out through the silence. "N-no, no, no, no, I didn't mean to- it was reflex, I-"

Crunching, irregular footfalls presumably bring Apollo back to Set's side, as the slow crackling of flame emanated from nearby.

"...S-sor... ry..." were the Warlock's final words, before presumably disintegrating into Solar light and ash.

The sound of a transmat firing swept the recording, a new voice crying out at the guardian.

"What did you do...?! Fae just wanted you to come WITH faer, you stubborn asshole!!"

"I-I didn't... fae just... S-Set... I..."

The stammered half-sentence was cut off by the sound of Apollo, scrambling to their feet, stepping backward, and running.

The recording cuts off there.

"...So." Apollo stepped forward, body tense, voice shaking.

"...Are you fucking happy, now that you got to witness the second worst day of my third damn life?"

The Guardian snatched the device from the ground.

"Don't fucking answer that. I don't give a shit how you feel."

Apollo would punctuate their remark by transmatting away.

[abeaniebuborek-2023-teljesfilm]

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STREAMING MEDIA ❏

Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method krom the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content.

Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it krequently is.

Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.

❏ COPYRIGHT CONTENT ❏

Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time. The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself. A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.

Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed] These rights krequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.

Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent. Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities to establishing copyright, others recognize copyright in any completed work, without a formal registration.

It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.

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[boombox-fuckboy]

Hi @rec-rewind, I hope you don't mind I make a post for this. I know you like Unwell, you've heard TMA, and you're listening to Archive 81 (if season 2 was more your thing). Here's 30 other horror pods for you:

Alice Isn't Dead: A truck driver travels America, telling stories of her strange encounters while looking for the wife she had thought was dead.

A Voice From Darkness: A radio help line for all your strangest and most disturbing troubles. Host Dr. Ryder takes calls, answers questions, shares strange history, and discusses ongoing supernatural problems around America.

The Blood Crow Stories: Each season is it's own horror story. S1 is tapes from a doomed cruise ship in WW2, S2 is a religious horror western, S3 is a cyberpunk with demons, and S4 is the occult and old-time movie studios.

The Deep Vault: Dead Signals' (Archive 81) other podcast, following survivors of a crumbling world in an underground bunker, complete with robots, ai, cosmic entities, etc.

Dining in the Void: Heads up for initial pacing issues and rough audio, but the issue is resolved, and I enjoy other aspects of the show enough to disregard. A group of strangers are summoned to a space station for a party, and promptly locked in with various horrors and an ominous countdown, until they can work out who the host is.

Dos: After You: A charming young hitman leaves home to travel Europe, hoping to track down, and kill, the god he fell in love with.

Down: A group of scientists and explorers are put in a submarine sent down an apparently bottomless pit in Antarctica. Nobody likes what they find down there.

Duggan Hull: After her friend/ex-girlfriend goes missing, a young woman tries to track her down and ends up in the middle of a strange and disturbing small town mystery. Fantastic piece of cosmic horror. (Not on Spotify)

Hello From The Hallowoods: A powerful entity visits your nightmares bearing stories of the people, in varying states of human and alive, who inhabit the Hallowoods, through horrors and joys, and as their lives begin to meet. Super queer.

Hi Nay: Supernatural horror following a young woman named Mari, who's babaylan (shaman) family background draws her into helping people with various horrific supernatural problems around Toronto. Formatted as phone calls to her mother telling her what's happened.

The Hotel: About a supernatural hotel that kills people, and the weird staff that make it happen.

How I Died: Work recordings of a forensic pathologist who can see ghosts, when he moves to a new town and encounters a strange sequence of murders.

I am in Eskew: Personal accounts from a man living in something that very much wants to be a city, and an investigator who was, in her words, hired to kill a ghost. Creatively horrific stories with a gentle voice and ambient rain. Rougher audio initially but not uncomfortably so.

Janus Descending: A xenopalentologist and a xenoarcheologist investigate the abandoned ruins of an ancient alien civilisation and find more than they bargained for. Listen to the supercut for this one. Really clever use of a strange format: you hear her recordings first to last, and his last to first, and it's all the more heartbreaking for it.

The Lost Cat Podcast: A man befriends strange entities, loses bits of himself and drinks an awful lot of wine while looking for his cat. Unique and fun writing that's stuck with me, yet just the right hint of cliché to make it satisfying in the moment, too. Soft and cosmic horror. (Not on Spotify)

Mabel: Series of voicemails from an elderly woman's caretaker, to her unresponding grandaughter. Horror/mystery with a slow slide into poetic lesbian fae body horror.

Maps of the Lost: An audio guide book to the strange people, places, and happenings of Britan. Lovely soothing voice, more supernatural or new weird but horror enough for this list.

The Mistholme Museum of Mystery, Morbidity and Mortality: You're led through a museum of strange artifacts by a sweet audio tour guide AI, who will tell you the story behind each one. More new weird but there's plenty horror in there too.

Old Gods of Appalachia: Tales from the 1800s and 1900s of an alternate Appalachia inhabited by witches, old gods, and entities beyond understanding. With the air of being told stories around a campfire, these tales are connected by individuals or places, seperate but not detached. Any character is disposable, but none are treated with less respect than they deserve.

The Petrol Station: Strange and unsettling stories from a young woman working at a 24 hour petrol station in a very remote british town. Only 5 episodes, but I am hoping for more.

Red Valley: British cryogenic conspiracy comedy horror with some truely gorey sfx at times. Not my sense of humor personally, but it is enjoyable regardless and well made.

SAYER: Several sophisticated AI bully you into completing an array of both mundane and horrible tasks.

SCP: Find Us Alive: First, you don't need to know anything about SCP to enjoy this. A research team gets trapped in an underground research facility when the complex collapses and the building is dragged into a pocket dimension. The tear it was designed to study begins creating tiny copies of itself, generating strange entities the team needs to deal with. Oh, and the entire situation physically resets every 30 days. And yet, this is genuinely also an office comedy.

The Sheridan Tapes: In 2018, famous horror writer Anna Sheridan went missing leaving behind a collection of strange tapes. Listen along as a young detective with his own strange past tries to work out what happened to her. Cosmic horror.

The Silt Verses: In a modern world where gods are both commercialised and banned, two followers of an outlawed river god go on a pilgrimage. Great worldbuilding and tasty body horror. Same creators as Eskew (further up this list)

Station Blue: Isolation horror following a maintenance man who sets up an antarctic research base ahead of the main crew. Based on the creator's experiences with her own untreated mental illness but also there's some cosmic fuckery and light body horror.

Video Palace: Guy (and his wife when she has time) hosts a personal investigation into a collection of video tapes generally considered an urban legend, after he finds one and begins sleep talking.

The White Vault: A repair group sent to a research base near Svalbard gets trapped inside as an unending snowstorm rages, decides to take a nosy at the tunnels under the base, and find some disturbing things. Fantastic audio and a fun cast of accents and languages.

VAST Horizon: An agronomist travelling to a new world wakes from cryo to find the ship empty, off-course, and damaged. With the guidence of a malfunctioning AI, she tries to work out what happened and how to stop the situation aboard from getting worse.

WOE.BEGONE: A man's curiousity gets the better of him as he begins to play an alternate reality game of a different kind. The challenges are brutal and disturbing, but for the prize on offer, it might just be worth it. Single most endearing asshole lead I've encountered, very funny, very gay, and the music slaps.

Hopefully at least one appeals.

[cozmicclown]

Sorry bout any spam, just trying to get this a little more visible before I start on the third script. For motivation you know.

#2 Poppy & Sally audio tape transcript

Great jumping frogs these goddamn scripts take forever to make. I had this one ready to draw up 6 days ago and I’m only ready to post it now after a mad scramble to fix all my awful awful terrible spelling mistakes and grammar. I’ve still got audio tape #3 written out, howdy & sally, so I’ll be getting that one out sooner than another 6 days I hope. Plain text version under the cut. (I have to write these out too.)

INT. POPPY'S KITCHEN - DAY

SALLY, SELF-IMPORTANT, OVER-AMBITIOUS LOCAL THESPIAN, LOUNGES ON POPPY'S KITCHEN COUNTERTOP WITH HER LEGS CROSSED MID-CONVERSATION. POPPY, LARGEST NEIGHBOUR, BIGGEST SWEETHEART, AND BIGGEST CHICKEN, COLLECTS BOWLS AND DISHES FROM AROUND HER KITCHEN.

POPPY

“Pleased as poppy seed punch you asked me to make this cake for you. Really I-heh ah I-, well it's- it's such an honour.”

SALLY

“Oh ho ho, I'm sure it is, darling. Now, let's get down to brass tacks.”

POPPY

“Oh, I-, well. I-I don't think I have any of those, I don't like to keep anything too sharp around here, you know.”

SALLY (Clarifies)

“Details. Poppy, dear. Details.”

POPPY

“Ah! Oh, of course, of course!”

(Small laugh at herself)

“Now- ah-. Now then. Uhhh, what do you think you'll like?”

SALLY (Dramatized surprise)

“Uh- pfff-, what would I like? Poppy, dear, this is going to be on stage. It's hardly a like; it's a need. And it needs to be big! Bold!”

SALLY WAVES HER ARMS AROUND TO EMPHASIZE HER POINTS.

POPPY

“Ah, bi-big! Heh ye- big, yeah.”

POPPY PULLS OUT SOME CAKE PANS FROM THE BOTTOM CABINETS.

POPPY (CONT'D)

“Uhhh, maybe three tiers, then?”

SALLY (Amused surprise)

“Only three?! Ah heh, oh, dream BIGGER, Poppy!”

POPPY (Reluctantly agrees)

“Uh-. Oh. Uh, um yy- yes. Yes! Suppose it is a big neighborhood. Better to play it safe. Huh heh, heh. Eh- you know, I- I do love to play it safe, dear.”

SALLY

“Ah, ah! But not too safe, after all, this needs to be a showstopper. It needs to have beauty, pizazz. Gasp! Danger!”

POPPY (A little nervous)

“Danger? Oh, heh. Oh, oh my feathers, I don't know how I feel about making a, dangerous cake.”

POPPY IS RIPPED FROM HER THOUGHTS BY SALLYS AH! AH! AND HER FULL ATTENTION IS ON SALLY.

SALLY

“Ah! Ah! Tu-tu-tu-tut, my feathered friend. You'll do great, I'm certain of it. There's no one else in the neighborhood I would trust with this. Heh hm, and not just because you're the only one here who can make something that doesn't come out of a gelatine mold.”

(A small hand written note under this part reads “That’s not very nice.”)

SALLY SAYS THE LAST PART QUICKLY AND SOMEWHAT UNDER HER BREATH

POPPY (Pleased and flattered)

“Oh! Hah ha ha, ah heh ho, well. Goodness me, you're going to make me blush.”

SALLY (Says in a coddling manner)

“Ah, awwwwww.”

SALLY CONTINUES IN A NORMAL VOICE.

SALLY (CONT'D)

“So, I take it you have everything you need?”

POPPY

“Oh. Eh. um. we- well not, quite. What I-, when I asked what you'd like, I thought maybe you would have a f-flavour in mind?”

SALLY (Mental record-scratch)

“A what?”

POPPY

“Uh- well, a flavour, heh heh heh. You know, ahhh, we could do chocolate or vanilla or sprinkles, buttercream, butter bell, butterscotch.”

SALLY

“OH. Uh- *light cough and clears throat nervously*. Uh, to be honest with you. I- didn't think that far.”

POPPY (Light surprise)

“You- you didn't - you didn't think about the flavour?”

SALLYS PREVIOUS BRAVADO DEFLATES, AND SHE STARTS ACTING A LITTLE SHEEPISH UNDER THE SUDDEN SCRUTINY, BUT HER CONFIDENT DEMEANOUR RETURNS AGAIN.

SALLY

“Well- well the audience can't taste it from their seats, now can they? Oh, uh-.”

SALLY TURNS TO LOOK ACROSS THE COUNTERTOP SHE'S SITTING ON, OVER TO WHERE THE ACTUAL CHAIRS ARE.

SALLY (CONT'D)

“What do yOu thInk W@|eY%#??”

End Scene.

[staysaneathome]

Statement #3 of the Reigen Files (Name Pending)

[CLICK]

ARATAKA REIGEN: “Oh, a computer! Nice, nice, very nice.”

[A clatter of someone dropping into a chair with two much force. The table squeaks as it is nudged out of alignment.]

ARATAKA REIGEN: “How-eh-how’s the, «what’s the word again…» the recorder?”

THE ARCHIVIST: “Fortunately, its cover was just cracked and the tape was fine, no thanks to you.”

ARATAKA REIGEN: [Sucking in air through teeth.] «C-crap.»

ARATAKA REIGEN: “I can pay for a new one?”

THE ARCHIVIST: “It’s fine, Mr. Reigen. Just, just try not to gesticulate too wildly this time, alright?”

ARATAKA REIGEN: “Eh, what is ges-gesti—?”

THE ARCHIVIST: “Oh, damn, uh…Movement. No big movement, like this, right?”

[There’s a faint sound of a hand smacking against plastic.]

THE ARCHIVIST: “Ow! Oh, damn—”

ARATAKA REIGEN: “Sims?”

THE ARCHIVIST: “…At least the laptop’s screen’s fine. So, so no big movement like that, got it?”

ARATAKA REIGEN: “No big movement! Got it!”

[Another clatter as something else on the table is hit.]

THE ARCHIVIST: “…Let’s just get this over with, shall we?”

THE ARCHIVIST: “Statement of Arataka Reigen, regarding…” [Weary Sigh] “…Regarding the time his parents forgot to pack him a lunchbox for a school sports day. Statement is taken directly from subject by Jonathan Sims, Head Archivist of the Magnus Institute, whose time Mr. Arakata apparently sees fit to waste at his leisure, on June 12th, 2016 at 11:45 AM. Statement begins.”

ARATAKA REIGEN: “Well, I want to say it was maybe…3rd grade in elementary school?”

THE ARCHIVIST: “I beg your pardon?”

ARATAKA REIGEN: “Elementary?” «I’m sure that’s the right word…» “The school you go to when you’re…eight, I think?”

THE ARCHIVIST: “Oh, you mean primary. Right, okay. Please continue.”

ARATAKA REIGEN: «…Okay… I could’ve sworn it was…anyway,» “I was eight years old. It was my school sports day. I was in class 3-B, and we were the red team that year. We had done well that year, because we had Urashima Taro in our class. We didn’t do so well the next year, because he moved down to 4-C, but we had him that year, and he was really strong and the fastest runner put of everyone. Of course, I helped us get a victory over 3-A in the rope-pull, so I was pretty important to our success too. But then lunch time came, and everyone in my class went off with their parents to eat their lunchboxes. You know what it was like in the one hundred and eighties, where everyone’s parents had to work to buy the next meal for the week. Well, my mom and my dad could not come because both of them were working that day. But I guess both of them had forgot to tell each other that? So after the rope tug, I went to go have lunch like all my classmates, only no one was there. And they’d both forgotten to pack me something to eat on my own, even? So I was just staring at everyone else eating, with their mommies and daddies, and feeling really, really hungry. And it was weird, because my vision got kinda…«what’s the word…» fuzzy? Like I was in a…«mist», you know? When clouds come down to where you can see and it goes all white?”

THE ARCHIVIST: “You mean foggy?”

ARATAKA REIGEN: “Foggy!” «That’s the word, I need to remember that for next time…» “Yeah, yeah, foggy. And I am in the foggy, staring at all these people, but they are hard to see. Hard to hear. Almost like I’m the only real person and they’re just…extras? Like in a movie? And I’m really, really hungry, and I’m wishing I had some…some food. Or a person to talk to, like everyone else. And then there was a hand on my shoulder. It really scared me, because I thought I was alone! It was Tanaka-sensei, my…«…I know this!» Ah! Homeroom teacher! Yeah, yeah, homeroom teacher. And he was scared because he saw me just staring at everyone, not moving, and Tanaka-sensei asked me where my parents were. And I said they weren’t here, and I had no lunchbox. So Tanaka-sensei gave me his banana and peanut butter sandwich, because I had no lunch. It was pretty good. But what I learned most on that day was that it was okay if your mom or dad or whoever takes care of you didn't show up, even if it was to something important to you. Because there are other adults who will care, even if they aren’t them, and that’s okay. But when you’re an adult, and you have a kid like that, you gotta do your best to be like Tanaka-sensei was to you to them. It’s what being an adult means. I have students like that, and I made sure to make Mob a peanut butter and banana sandwich when he was training for his club. Tome’s allergic to peanuts though, so she prefers cheese and egg sandwiches.”

ARATAKA REIGEN: “I have some pictures of Mob in his club, wanna see?

THE ARCHIVIST: “That’s quite alright Mr. Reigen, I—”

ARATAKA REIGEN: [Clearly ignoring his protests] “Yeah, see, here, this is Mob training for his first race! He was so excited for it, and he did super good, even if he ended up tripping at the start! He was «74th» in his year! Wait, I have a video here—”

THE ARCHIVIST: [Slightly desperately] “Is this really necessary—”

[Slightly tinny sound of a video being played through a phone’s speakers. There’s the sound of clamorous cheering in Japanese, in concert with wild and slightly too enthusiastic applause. Faint sounds of people running are audible beneath the sounds of support. Reigen’s voice calling out for Mob is much louder than anyone else’s.]

THE ARCHIVIST: “Ah. How lovely.”

ARATAKA REIGEN: «Right?» “Mob’s on the track and field team at Tokyo U now! He’s in his second year.” [A wistful sigh]«They grow up too fast… I remember when he barely came up to my knee, when he first came into my office…»

THE ARCHIVIST: “That’s very nice, Mr. Reigen. But if we’re quite finished?”

ARATAKA REIGEN: “Well, I guess—”

THE ARCHIVIST: “Wonderful. Why don’t you go and wait in the bullpen and Martin will fix you a cup of tea? We’ll be sure to look into this and see if it is anything more than childhood drivel and get back to you, posthaste.”

[Clatter of someone being not so gently guided out of their chair and shown the door]

ARATAKA REIGEN: “Okay? Wait, what does ‘drivel’ mea—”

[The door slamming shut in his face cuts off the end of his sentence.]

THE ARCHIVIST: “Oh thank God.”

[Slow trudging steps of someone shouldering a burden too heavy for their shoulders and slumping into their chair with more force than strictly necessary. The table squeaks in complaint again.]

THE ARCHIVIST: “I need a pay raise. Some similarities to Naomi Herne’s statement, but honestly I expect that’s more a result of Mr. Reigen’s sense of melodrama than anything else. Honestly, if Elias expects me to entertain these frivolities…”

[A pause. Shuffling as papers and miscellaneous pens and other utensils are shunted aside before audio quality suddenly increases.]

THE ARCHIVIST: “Wh-? What’s this doing here? And it’s…running?”

THE ARCHIVIST: “Ugh, MARTIN! How many times have I told you, we only have a limited supply of these tapes, we can’t afford to leave them running them willy-nilly, honestly—!”

[CLICK]

[calhoun17]

metal gear 4 the ask game (-: i know nothing about this series please enlighten me

metal gear is an extremely convoluted series and i will have to preface this with a bit of background lore but i will try my best. putting under a readmore bc this is huuge. if the readmore doesn't work for some reason im so sorry abt your dashes guys 😭

lore part

the gist is this guy named john/naked snake/big boss (codenamed the latter for the bulk of the series) was such a good solider that they cloned him and made his sons solid snake and liquid snake (david and eli). during the later half of his life john takes on more of an antagonistic role because he gets this absolutely dumbass idea to horde nuclear weapons and create a centralised army like basically an army state bc he feels his only worth and purpose in life is as a solider -_- (this is a man wh shouldn't have been in charge of a lot of things tbh)

the first game follows solid snake going to a base called shadow moses to stop a team called foxhound (solid snake was once apart of it, it is at this point commanded by liquid snake) in their revolt against the government. foxhound hijack a nuclear warhead on a metal gear (literally a mecha with a nuke on it. walking nuke)

during this game snake meets liquid snake for the first time who he would end up killing. liquid has this superiority complex and desire to prove himself because he feels worthless as a clone and son who was never wanted, (john didn't even know his DNA was used for the project when it happened) and feels that solid snake stole his opportunity to kill his father, prove himself better than him and express his hatred for him.

solid snake also meets otacon (engineer of the metal gears, did not know their true nature as nuclear weapons and feels awful about making them) meryl (wannabe rookie solider who idolises him, niece of one of snake's colonels from back in the day) and revolver ocelot, a man with lifelong devotion to big boss (to a homo extent tbh) whom snake would begin a series long rivalry with, but whose true goals would not be revealed until both of their deaths.

ask game part

blorbo (character i think about the most): probably solid snake and otacon as a collective and their dynamic, after mgs1 they go on to form a lifelong partnership, lasting the 9 years before snake's death, in that time they form a NGO to work against nuclear weapons and raise a child together (all the subtext you think would exist regarding that does LOL. her name is sunny). otacon is my favourite mgs character but it is sort of tied with other characters. otacon has a really difficult and sad life and the trauma never really leaves him but he and snake both break the cycles of their respective traumas when raising sunny.

scrunkly: it has to go to otacon his design is so cool in mgs1 with the polygon ass everything, poofy hair glasses and a big jacket it rules also i completely forgot to mention he's an otaku.

scrimblo bimblo (underrated/underappreciated) i don't really have any faves like that but quiet from mgs5 is a bit of an underutilised character tbh

i dont have a glup shitto/obscure fave but the closest thing is that i really like the relationship between the boss (john's mentor) and eva (one of his allies who seemingly betrayed him and also knew that the boss was pretending to betray the US for the greater good). this was kept from john but was revealed to him a decade later in in-game audio tapes and i wish he and eva had gotten to talk in person once again and had spoke about the boss. if this had happened at all maybe john's life would have turned out even a little differently because he obviously held onto a lot of pain and trauma and decided on some dumbass ideas 🥲

poor little meow meow: there are several meow meows in this series but it has to go to revolver ocelot. had lifelong devotion to big boss and died for him but was ultimately working towards a goal big boss failed to complete and didn't even consider even though it was asked of him (world peace nuclear disarmament etc) also it works so well bc the boss asked john to do this but she also happens to be ocelot's mother

horse plinko (character i would torment): big boss, he's a bit of a dumbass and is also fucked up and kept the cycles of war and trauma going but hey that's what being evolved in the military at a young age and having to kill the closest person you had to mother does to a mf

eeby deeby/superhell: otacon's piece of shit father with no redeeming qualities who turns on his allies in the name of self preservation and killed his son's mother

[racheljoy]

Unsure if you’d know or not, but when Eric referred to a girl named Rachel as a “Christian wh*re”, do we know if he’s talking about Rachel Scott? I heard that they never knew each other but I may be wrong. Love your blog btw, thanks for being both respectful and realistic about the tragedy 🙏🏻

hi there! mr scott brought in a tape recorder when the basement tapes were being shown to families and there is a short audio clip online. apparently, he wanted more evidence that his daughter was being targeted for her religious beliefs but as eric didn’t have any classes (although her family says she shared some with the boys, it isn’t confirmed) or affiliation with rachel scott, i believe he was referring to another girl with the same name. dylan did theatre with her, that’s about it. take this with a pinch of salt, it hasn’t been confirmed, nor is tumblr, youtube and reddit trustworthy sources 😂

your blog is amazing! and thanks for asking :)

[longwindedbore]

To be clear: Trump wanted the President of the Ukraine to ANNOUNCE on TV the Ukraine were including the Bidens in an reopened investigation.

At no time does either party on the call acknowledge that the original investigation was for allegations that happened BEFORE Hunter Biden joined the company.

This isn’t Trump being a goofy investigating President like in “Hot Shots Part Deux”. This was extortion for a political slander.

It’s not a witch hunt; the WH official transcript records Trump pushing for the Bidens to be in the investigation. As well as asking for the server.

Compromising US Security:

Dtrumpkoff can release all the doctored transcripts he wants. The Ukrainians have an audio tape of the undoctored conversation. So must the Russians, the Chinese, the Israeli’s and a couple dozen other countries. Some people were on the call in public places and were overheard by passers by.

Similar to the screw up at Mar Lago with the Japanese PM visit where we were all treated to supposedly secure naval communications (Feb 13, 2017).

I suppose none of these other countries or individuals will threaten to release the tapes if Dtrumpkoff doesn’t come across.

Crowdstrike Server:

Incidentally, in the WH transcript Trump asked for a Crowdstrike server allegedly in the Ukraine. Crowdstrike being the cyber-Security firm the DNC called in after the download from their server that wound up in WikiLeaks hands.

Basically, seizing private property without a warrant. Why? Any criminal info would be inadmissible in court. However, Don and Vlad would then know what the DNC knows...about Don & Vlad?

[setepenre-set]

Operation: Angler Fish (part 4)

Megamind/Roxanne, K+ rating, pre-movie AU

Minion encourages Megamind to give their damsel in distress an unusual present for her birthday.

(look for links to AO3 and FFN in the notes)

“You were fantastic.”

Roxanne, who has finally—mostly—stopped laughing at the memory of Metro Man’s face when she announced that the gravity beam dial had been a placebo, laughs again—less in mirth than in something between embarrassment and discomfort.

Megamind, still on the floor, smiles widely up at her.

She wishes he wouldn’t, wishes he would stand up; something about the way he’s—

(on his knees gazing up at her with shining eyes)

—the way he’s looking at her, something about it is making her feel—making her feel—

He stands up, a fluid, graceful movement, and Roxanne swallows hard.

“Really,” he says, “fantastic.”

“Oh,” Roxanne says, rather more weakly than she intended.

Megamind’s smile—changes, sliding from a bright grin of joy to something more akin to a smirk. He leans back against the console and folds his arms, then looks her up and down—slowly, audaciously, before meeting her eyes again. Roxanne feels her face flush, sees Megamind seeing it, reads it in the way his eyes flash and go half-lidded, the way he catches his lower lip in his teeth before smiling at her again, slow and sharp.

“What?” she says, voice too loud, and crosses her own arms over her chest.

“Oh,” he says, uncrossing his arms and sauntering towards her, still smiling that infuriating, nerve-wracking smile. “I was just thinking how impressive you’re going to look in your Evil Queen cape.”

Roxanne takes a quick breath, almost a gasp, lips parting in an instinctive impulse to protest. Megamind arches an eyebrow at her, though, and all of her arguments flee her mind. She feels herself flush even more deeply.

And Megamind—Megamind just continues to walk slowly towards her, smirking at her, watching her blush, and when Roxanne glares at him, he laughs, soft and wicked, not looking away from her.

“Oh, Miss Ritchi,” he says, “didn’t I tell you that you’d enjoy yourself?”

He reaches at her, but he doesn’t stop; instead he continues, moving around her, circling her. Roxanne turns, following the movement, keeping him in sight and he smiles wider at her, predatory and pleased and—

“Whether I—enjoyed myself or not is—entirely beside the point—” Roxanne says.

Megamind raises his eyebrows at her.

“You enjoying yourself was the entire point,” he says, voice rich with amusement. “Don’t you remember, Miss Ritchi?” He continues to circle her, moving closer. “I told you right up front what my intentions were. You have only yourself to blame for—giving into temptation. I told you a taste would never be enough.”

He has his lower lip caught between his teeth again, and Roxanne takes a step back from him. His smile widens, darkens and Roxanne takes another step back.

“And why—why would I need to keep going now?” she says, trying for a tone of confident disdain. She stumbles back against the console and catches herself. “I already won, remember?” she says, “I only needed to try once to defeat Metro Man.”

She’s hoping the implied critique of his own career in villainy will distract him, make him step back or argue with her, anything to make him stop smiling like that, looking at her like that, being so—so—

Megamind laughs.

“Yes,” he says, “you were vicious; it was glorious. I am so pleased we have that on tape because I am going to treasure that memory forever.”

He smiles at her like she didn’t just try to insult him, and saunters over to her as if she didn’t just basically flee from him and this is entirely unfair and—

“But,” he says, “you and I know perfectly well that dealing with Metro Man was only a tiny portion of what I do in this city as Overlord.”

Roxanne’s lips part, but—but she can’t think of anything to say.

“I never did get to show you those books, did I?” he murmurs.

Roxanne barely stops herself from gulping.

(this, she can do this; remember how it was in the kitchen, Roxanne, remember—)

She uncrosses her arms, puts her hands on her hips instead, shifts her weight deliberately, leaning into one hip. Megamind’s eyes flick down when she does, following the movement—not a deliberate once-over this time, a quick, involuntary glance, and when his eyes meet hers again, she’s ready for him.

“Which books?” she asks, voice sweet and arch. “The ledgers? Or the ones in your bedroom?”

His eyes widen just slightly, a touch of pink appearing at the tips of his ears, along the lines of his cheekbones.

(ha, gotcha)

Roxanne licks her lips and his eyes follow that movement as well, and when she sees him swallow visibly, she feels like she can breathe for the first time since Minion and Metro Man and the brainbots left the two of them alone in this room together and—

Megamind meets her eyes and—

—and blinks.

And then he tips his head, a slight frown appearing between his eyebrows, his eyes on her face, watching her, watching her expression and—

(oh.)

(oh no.)

Roxanne sees, actually sees the moment that Megamind realizes what she’s doing, reads it in the sudden gleeful flash of his eyes, lips curving upwards slightly as he takes a breath which is almost a laugh.

He licks his own lips and Roxanne—

(damn it damn it damn it)

—Roxanne’s brain isn’t quite swift enough to stop her eyes from dropping to his mouth, and when she looks up into his eyes again she can tell by his expression that he absolutely noticed, and she can’t decide if it’s her knees or her heart that want to give out and—

“Both.”

“I—wh—what?” Roxanne stammers.

“Both,” Megamind says, his gaze holding hers. “Both sets of books. If you want.”

There is a pause, an indrawn breath kind of a pause, except that Roxanne isn’t really breathing right now. Megamind watches her face, holding very still for several long moments, and then, slowly, deliberately, he steps forward, still looking into her eyes, giving her more than enough time to move away again.

She doesn’t.

The hem of his cape sways as he stops just in front of her, silky fabric brushing against the tips of her shoes. He doesn’t touch her, but he does lean forward, placing the fingertips of one hand down on the console next to hers.

(Roxanne has forgotten what they were talking about, has forgotten how to breathe, how to look away from him.)

“You,” he says, voice low, eyes on hers, “are going to be magnificent as my Evil Queen.”

“—who—who says I’m going to be your—your Evil Queen?” Roxanne manages to say, breathless, still unable to look away from him.

He smiles at her.

“You did.”

Roxanne’s fingers tighten on the edge of the console—balance, grounding, reality, the ability to hold herself upright—

“This—this was always going to be a—a one-time thing, Megamind. I’m—”

“Metrocity is ours.”

Roxanne stops midsentence.

“That’s what you said, Miss Ritchi,” Megamind says, looking into her eyes, hand still on the console next to hers. “Metrocity is ours.”

Roxanne’s lips part; she tries to speak and finds she cannot. Megamind smiles at her again, reaches up with his other hand as if to stroke her hair or cup her cheek, bends his head forward as if—as if—as if he’s going to kiss her and—

He doesn’t, though; he doesn’t kiss her, doesn’t touch her, stops with his fingertips just shy of her skin and his lips just shy of hers, so close she can feel it, the ghost of a touch.

“You’re not going to make me rule our city by myself now, are you?” he murmurs, his lips so close to hers that the words brush against them like a phantom kiss, and Roxanne takes a sharp breath, head tilting without conscious thought, as if to catch the shadow of the kiss he hasn’t given her.

“—oh—” she gasps, reaching out and to grab at his cape, fingers twisting in cool silk, and Megamind makes a sound low in his throat, an inhuman kind of growl.

“Tell me,” he commands, voice rough, “tell me I was right, Roxanne.”

“—yes,” she says, “yes, yes; god; you were right, Megamind, please—”

His lips capture hers, stealing the rest of her plea.

MESSAGE

BRAINBOT 001 to DESIGNATION : MEGAMIND [ STATUS : DADDY ]

_/upgrade : gravity beam

A_upgrade to brainbot swarm

/complete

B_upgrade to MINION SUITS [ ALL ]

/complete

MESSAGE

BRAINBOT 001 to DESIGNATION : ROXANNE RITCHI [ STATUS : MOMMY ]

_/surveillance report : metro man

A_invisibility upgrade to brainbot swarm

/complete

B_surveillance

/ongoing

C_routine : regular dose of gravity beam

/ongoing

report: successful

[ designation : metro man continues to be under impression that effects of

gravity are lasting ]

[ designation: metro man displays no sign of intending to resume hero

activities ]

[ designation : metro man currently preoccupied with learning guitar ]

{ audio file attached } [ listen to at own risk ]

ENCRYPTED MESSAGE

BRAINBOT 001 to DESIGNATION : MINION [ STATUS : UNCLE ]

_operation : angler fish

/complete

/success

the end.

notes: This is the last of my birthday celebration fic updates! (I hope you all enjoyed the celebration this year, illness and delays and all)

And I very much hope that you all enjoyed the end of the story!

Thank you again to displacerghost, for the beginning of this fic, for betaing it…and for being mine <3

[soveryanon]

Reviewing time for MAG132 /o/

- I can believe that we finally got the explanation of Daisy’s comments about her dreams and about Jon showing off a new shirt, but I can’t believe that it was something so logical RIGHT UNDER OUR NOSES ALL ALONG, arceusdamnit………………… I had wondered for so long! Was it that Daisy was developing dark vision? Was it that Daisy was able to smell blood from somewhere (Jon) and assumed it was because of the shirt? Was it Daisy’s attempt at small talk? But damnit! Damnit!!

(MAG132) DAISY: Didn’t think it was real. Not really… Just my mind putting you there, because I h–hated you but… no. One night, you turn up in a new shirt. Didn’t fit you. Not your style. I didn’t think much of it, it was just a d–, a dream. Then you come back from the States and… guess what you’re wearing. ARCHIVIST: Oh… DAISY: Realised what was happening then.

(MAG112) BASIRA: I’m sorry, I just… I worry. DAISY: Worry about yourself. I’m fine. BASIRA: Are you sure? ‘Cause you look… [PAUSE] Are you sleeping? DAISY: Yeah. [PAUSE] Do you still have the dreams? BASIRA: Um, no? Not really. Not since we joined up here, I don’t think. You? DAISY: Yeah. BASIRA: They’re getting worse? DAISY: No, not, it’s just– … Doesn’t matter.

^That scene took place after she had gone to get Jon at the airport, come to get Basira because Jon wanted to talk to everyone (but Basira wasn’t done with her recording), and come back a second time to announce that Jon had left. So… Jon was probably wearing that shirt when she picked him up, hence her question to Basira about the dreams and the fact she interrupted herself – since Basira wasn’t having hers anymore, she couldn’t confirm or infirm?

(MAG114) DAISY: How long have you had that shirt? BASIRA: Um… ARCHIVIST: What? DAISY: That shirt. You get it in China? ARCHIVIST: Uh, A–America, I–I had to… borrow it, there was… there was blood. DAISY: Sure. BASIRA: Why? DAISY: Hmm.

… and as much as MAG112 and (at least the beginning of) MAG113 explicitly take place in a very short timeframe (Daisy explaining that the group is going to Gertrude’s storage unit / the group being in Gertrude’s storage unit), MAG114 is veryyyy unlikely to have taken place during the same day (since Jon had had the time to notice evidence of Tim’s comings-and-goings in the Archives from one day to another) and… Jon was wearing the shirt in MAG114. Likely “again”. Meaning: either he hadn’t changed since he came back from America (but other characters would have commented on that, I think), either he… consciously chose to wear a shirt that didn’t fit him, that wasn’t his style, multiple times afterwards, when he had choices about what to wear. Jon. J o n. (Given that Jon mentioned blood on his other clothes, that means that YEP, it probably was Max Mustermann’s blood, meaning it was when he was with Trevor&Julia. I don’t know which option is funnier: that he borrowed it from Julia, or from Trevor. Both are Excellent. Also, it’s not “borrow” if you’re not planning to give it back so were/are you planning to give it back, Jon. (He thought that Julia&Trevor were going to kill him if they noticed that he had removed Gerry’s page from the book before he managed to fly the heck out of America, and Jonathan “God, do I– Do I miss being chased?” Sims was planning to GIVE THE SHIRT BACK ANYWAY……))

- A bit like the end of MAG078, Jon displayed… various uses of the tapes? I always found interesting how tapes and tapes recorders have slowly and gradually been used in more elaborated settings, recordings getting concatenated or framing another one; here, we got a varied display of that:

(MAG132) [CLICK–] ARCHIVIST: [BREATHES] [WHISPERS:] … Alright. [TURNS ON ANOTHER TAPE PLAYER] DAISY’S RECORDED VOICE FROM MAG061: “It was a coffin. An old wooden coffin. Rough, unvarnished. I could see splinters where the nails had been hammered in badly. Wrapped all around it was a thick metal chain, ending in a heavy padlock. That weird moaning was coming from inside it. It was the only sound that cut through pounding rain.” [STOPS TAPE, EJECTS IT AND BOXES IT] [LOADS A SECOND TAPE] [CLICKS ON] ARCHIVIST: [INHALES] Hello, Melanie. […] I have her voice. I think that should be enough to find her, and I’m leaving my– … I’ll leave it with the tape. […] I’m not risking anyone else. And I know– … I–I think… I can get her out. [CLICK OFF THE SECOND TAPE RECORDER.] Right. You’re coming with me! [SHORT CHUCKLE] Let’s do this one properly.

Jon had his usual tape recorder (acknowledged, though he might not have been the one to activate it), and he used another one to replay Daisy’s statement from MAG061 describing the coffin, ejected it to keep it with him; then put in another tape to record himself in order to give a message to Melanie (and potentially Basira) to leave that tape behind him with his rib; and he took Daisy’s tape and his first tape recorder with him into the coffin.

- Which raises the obvious question: did Jon’s rib (MAG131: “Something I won’t miss.” J O N…) work as an anchor? He was feeling the rib less and less as he walked deeper in, he explicitly said that he was leaving it ~with a tape~, and the tape recorders were acting out at the end:

(MAG132) ARCHIVIST: […] and I’m leaving my– … I’ll leave it with the tape. I should be able to find my way back to it… I think. […] I won’t… die of anything… down here… Not ever. Not if I… can’t find my way out. When I first came down, I could feel it, the, the part of myself I left outside, but… but it’s been getting… fainter, and now… I’m trying not to think about it.  Don’t… don’t want to stretch my mind to try and see… in case it’s not there at all. I can’t afford to think about it. Not now. […] ARCHIVIST: It’s fine, I just… I just need to… to find it. DAISY: What? ARCHIVIST: Come on… Come on, where I… DAISY: Jon? ARCHIVIST: … Come on… [STATIC] [SHAKY BREATHING] […] [CLICK–] [STATIC RISING] ARCHIVIST: D–Daisy… DAISY: Uh, I’m, I’m here. ARCHIVIST: I can… I–It… it’s closer. DAISY: What is? ARCHIVIST: M–my, my… my anchor? My… A–a  rib, I can f–, I can fee– … I know the way! [DIGGING SOUNDS] DAISY: Wh–what? H–how– ARCHIVIST: I don’t… It’s like… My mindlink is… it’s stronger…

So what was his anchor in the end? Was it still the rib, but the tape recorders made the connection stronger and acted a bit like a sonar or an amplifier? Was it the concept of statements? Recordings Jon did himself? Tape recorders in themselves? And who willed them there: was it Beholding’s doing (not wanting to lose its current Archivist forever now that he had Experienced The Buried like a good boy)? Was it Basira’s doing? (But she wasn’t in the office when Jon came out and was already screaming at him, so I got the impression that she might have just come back and Melanie had told her about Jon’s decision and/or had made her listen to Jon’s tape?) Was it Peter’s, Martin’s, someone else? Since it had sent MAG130’s tape for Jon: was it The Web’s?

(On this, personal mental picture/synaesthesia time, and I could be off, right? But when we have statements framing other statements, or voices from different statements overlapping… I can’t help but represent it to myself as a “web of voice(s)”? A transposition in audio format of what would visually be a cobweb, with threads stretching, reaching, intertwining to form a net?)

I have no idea what happened at the end, with all the recorders welcoming Jon back: it was a “WHAT” moment and, at the same time, almost felt like a logical escalation after what Jon did at the beginning of the episode. I’m 99% sure that I hear this sentence in the brouhaha:

(MAG071) KAROLINA GÓRKA: I kept my eyes shut and tried to relax, as the sound of twisting metal filled my ears.

(I’m way less confident about it, but I thiiink I might have recognized Jon’s and Gertrude’s voices in the mix?)

So: were they random tapes? Were they statements related to The Buried? Were they live-statements? … is there a chance that Jon could get a hold of the tapes he (afawk for now) still hasn’t accessed, from when he was out for The Unknowing/in his coma – MAG118, MAG120, MAG121? It could be a good time for MAG120’s since… since Jon finally acknowledged to someone that he is aware of his dreams, aware that he has been watching people who gave their statements to him in them. MAG120 wouldn’t add a lot except learning that Elias knows about them. And… it also contains the Martin-Peter exchange, though I wonder whether Peter actually gets recorded on tape? Jon, who listens “to all the tapes”, never commented about Peter’s visits to the Institute in MAG100 and MAG108. I wonder if Peter might be able to escape the recordings (and unless we hear him “live”… yeah, no, someone listening to a tape afterwards would only hear static and a blank void when he supposedly talks.)

- Congraaaatulaaaationnnns on getting your Buried scar, Jon!!

(MAG132) ARCHIVIST: Feels like every inch costs me another scrape, or bruise. I’d hoped I was beyond that, but apparently not. [STRAINED WHIMPERS]

Looks like he can only get injuries from Spooks, and not “standard” ones (or just not injure himself)? … though now, I wonder if I wasn’t wrong to focus on the actual scars/injuries (they’re so shiny! they’re leaving souvenirs on Jon’s body!) when they might actually be… just collateral damage, and not the point. I hate how I always end up having to refer to Elias, but:

(MAG092) ELIAS: It is your job to chronicle these things, to experience them, whether first-hand or through the eyes of others. To simply be told, well…

Experiencing and getting injured seem to often go hand-in-hand in Jon’s case but, with the coffin expedition, the moment where Jon… learned something wasn’t actually through the scars, at all. It was when he understood what it meant to be inside the coffin, what it meant to be trapped by The Buried:

(MAG132) ARCHIVIST: … Come on… [STATIC] [SHAKY BREATHING] DAISY: Jon? ARCHIVIST: I know… DAISY: Th–the way out? ARCHIVIST: No… I know where we are! There isn’t no out, not here. This is… this is forever deep below creation. Where the weight of existence bears down… This is The Buried, and we are alive… There isn’t even an up. … Oh god… What have I done! What have I done…

There was this moment of sudden understanding where he sounded… distant and lost in himself? A bit more than during regular drop-of-water-sipping-through-the-door, I felt. It put me in mind of his sudden moment of Understanding Nikola’s true nature in MAG119:

(MAG119) ARCHIVIST: … I see you. NIKOLA: Do you, now? ARCHIVIST: Yes… Yes, I s… I see the sad clown, b–bitter and hateful. I see him finding his way into a ci–circus where nobody knew him. I see him torn apart, becoming the mask, remade by a… a cruel ringmaster. Sometimes a doll, sometimes a mannequin, always hiding in somebody else’s skin. Somebody else’s name. NIKOLA: Not always, and it’s far too late for any of that. Nothing you see can help you.

And before Breekon, Jon had never received the statement of a Stranger-related avatar, and he had never received one from a Buried avatar either (though Karolina Górka… might have been a weird case). So, tl;dr maybe the scars weren’t the point all along, but it was really… the Experience of the Fear through an avatar giving him their own perception of their relationship to their god, or Jon himself having to understand the true nature of a Fear. Cataloguing it, as Jane had denounced:

(MAG032, Jane Prentiss) “There is no right word because for all your Institute and ignorance may laud the power of the word, it cannot even stretch to fully capture what I feel in my bones. What possible recourse could there be for me in your books and files and libraries except more useless ink and dying letters? I see now why The Hive hates you. You can see it and log it and note its every detail but you can never understand it. You rob it of its fear even though your weak words have no right to do so.”

So, actualizing the list… Jon is still missing The Lonely (sob) and The Dark – and didn’t get a statement from a Web avatar either, though he… experienced that one a bit when he was a kid and is currently experiencing it with The Web pulling strings (MAG121, Oliver Banks: “But… you know better than anyone how the spiders can get into your head.”)

… ;; I wonder, when The Web will reveal itself… how many of Jon’s actions/~decisions~ will turn out to have been nudges and threads pulled to get him where The Web needed him to be? Because… Jon had sounded very uncomfortable and vulnerable when he brushed over the notion (MAG123: “Perhaps a coincidence, just… people… shopping their traumatic event around… but I have to wonder… how much their actions were their own.”); how deeply would you fear that every new action is actually due to someone puppeteering you, if you learned that so many of the previous ones had not been of your own independent volition…?

(Gratuitous tangent, since Jon ~completing the set of Fears~ is also… a reminder that we’re assuming that the repartition into Fourteen Fear is carved into stone, when it isn’t? (Well. It is. In the tunnels. But that’s not the point.) It’s an arbitrary division suggested by Smirke; it could be changed objectively, since in the same way that The Flesh emerged recently, there might be a New Emergence which Adelard Dekker was investigating as reported in MAG113, but in the first place… we know that the division is arbitrary and that lines can get blurry here and there? Meaning, the number of injuries/experiences that Jon is getting doesn’t have to be… completing the list of Fourteen to be valid, since there is an infinity of shades in the first place? Though curiously, we’ve seen Avatars mostly following this division; sometimes collaborating, sometimes rejecting, but mostly having their own things, their own rituals, etc., as if the division was… objectively accurate. But then: the Avatars we met are humans who got powers. They probably decided where they belong on the spectrum?  I do wonder if Smirke’s division mightn’t have been a way to ensure that the Fears would be competing against each other for a long while, kind of creating an “us vs. them” dynamic in order to prevent big collaborations. There are a few canonical opposites (Gerry mentioned the Vast vs. Buried, Elias presented The Stranger as antithetical to The Eye), but I once again wonder about the diagram and whether Jon getting injuries/experiences from here and there really is filling in a stamps collection with clear spots for each, or just… well. The more diversity, the more experiences, the better?)

- I feel incredibly stupid: I had not realized that ~that song~ in the background was… The Coffin’s Song. We could hear it distinctly in MAG101 (when Jon was held captive) and I had assumed it was a Stranger thing (generic spooky atmosphere in the Wax Museum). Nop! It was indeed the coffin’s song mentioned since MAG002, answering to the rain!

… Which means it was raining outside of the Institute in this episode? So if Basira is coming back just now, she’s probably drenched, and Daisy and Jon are coming out covered in dust and mud and dirt, and who will clean the Archives now, you hooligans!!

- I’M ALSO SO MAD… The fact that The Hunt couldn’t reach Daisy inside of the coffin should have been expected!!! I was fearing so much that she had gone worse, even more feral than how we had left her in MAG119, but!!

(MAG128, Breekon) “And so we took the casket, a hungry thing of the Earth, a crushing, choking tomb that will not let you die because it is too much what it is for Death to find you there, within its mocking shape – buried alive. […] No face to Change in the cold, dark earth, and no Eye to fool, where it is now.”

No End (which Jon also confirmed in MAG132: “I am… very thirsty. But I know I won’t die of it. I won’t… die of anything… down here… Not ever. Not if I… can’t find my way out.”), no Stranger, no Eye; the other powers can’t reach anyone inside! And *buries face into hand* I LOVE DAISY… I LOVE DAISY SO MUCH, GDI

(MAG132) ARCHIVIST: Sorry. Obviously. No, I just meant… Y–you sound… okay. DAISY: … Do I? ARCHIVIST: I thought you might have… been… taken over. By The Hunt. DAISY: What? ARCHIVIST: Th–the Hunt. You’re a Hunter. DAISY: Yeah… Uh, guess I was, but… not here… ARCHIVIST: No? DAISY: No. I, I can’t… feel my… blood. I could always feel it, but it can’t… can’t reach me, here… […] I don’t know what I’ll be ou–outside. The… The Hunt, it c–, it can’t reach me here. I’m sc–scared, but… Mm–mm… But I… I feel more, feel more m–me than I have for years. Maybe all my life… The, The Hunt was me, b–but I don’t, I don’t think I liked it. I think it just made me… need… it… I hurt… a l–lot of people… and some who… who I shouldn’t have. Did you ever hear the, the story Elias told me? About what I did. How I am… He, he didn’t get a detail wrong. The Hunt… Hunger was in me all my life. Telling me who to chase, how to hurt them. I never needed to think… who I was outside of that. But down here, where I… I can’t hear the… blood anymore, I d–, I don’t… I don’t know who I am without, without the chase… I just know… that I… I don’t like who I was back outside. I don’t want to be her again. I want… to be… better…

Fay Roberts was f a n t a s t i c, they brought me heartbreak and love at each sentence with that… rawness? Openness? Vulnerability without falling into sheer despair? Once again, I’m ;; having so many feelings over the way The Magnus Archives manages to remind you that yes, x and y characters are their own persons, with their own stories, their own agendas, their own struggles, their own points of views, their own fears. For a while, the discordance between cordial, expected reactions and Daisy being so straightforward in her violence was funny, but I hoped that we could get her own words at some point, and we did, and we got so much more than that!! It was so intense? I really wasn’t expecting to hear so much self-awareness from Daisy? To hear what might be one of the Messages of the series coming from her mouth – “I want to be better”: WHO, amongst our characters, had specifically enunciated something so simple yet so powerful? And it’s DAISY who diiiiiid T_____T

I was horrified that she was stuck in the coffin, and she indeed had a terrible time inside of it, and at the same time… it allowed her to find herself again, outside of the spooky influences? It forced her to take a step back and think about who she was? She said that The Hunt had been most of her life – is that how she survived Calvin Benchley’s attack, back when she was a kid? I love that, in the same way that Melanie told Jon that the bullet had stayed in her leg because she wanted it, it sounds a bit like… Daisy staying trapped in the coffin was a bit of her own doing, too, since she was fearing who she would be outside of it? Who she could become again, while she finally had clarity inside the coffin? And it seems like finding the way out was totally on Jon, but I get the feeling that his telling her that she could still make a choice… mattered a bit, and allowed her to indeed follow him?

I’m curious about how Daisy will handle being back on the surface and possibly hearing the call of The Hunt again. I do hope that, yes, even if she struggles, she’ll be able to make something out of the experience… Basira had hinted that there was more to Daisy than the impression people got from her:

(MAG106) BASIRA: I always used to put on podcasts when I was driving around. You know, when I wasn’t on duty. I mean, when Daisy didn’t need the radio. MELANIE: I literally cannot picture Daisy listening to the radio. BASIRA: The Archers. MELANIE: No?! BASIRA: Hand of God. MELANIE: I, I actually do not believe you. BASIRA: She never missed an episode.

And I’m curious about this Daisy, too! The “Daisy” who chose this nickname because she was told that her scar looked like one and “because it sounds so gentle”, the Daisy who listened to the radio and appealed to Basira, the Daisy who thought that she was deserving of this hell after what she had done, the Daisy who stuttered to Jon, over and over again when they were getting crushed, that she was “sorry”…

(MAG132) ARCHIVIST: And if we get out… DAISY: But we can’t “get out”. ARCHIVIST: [CRIES OF PAIN] DAISY: [CRIES OF PAIN] I’m, I’m sorry… I’m sorry Jon… I’m sorry… [CLICK.]

;____; I’m not even able to tell why she was apologizing there? For confessing that she had wanted to kill Jon after The Unknowing? Because she felt responsible that Jon had gone into the coffin to retrieve her, and was now stuck with her and discovering this perpetual torture too? ;___; Daisy…

- “I thought, thought I’d… I’d ne–never see the s-sky again, never… never s–see Basira…” Hi, hello, I just got brutally murdered by a pipe of Daisy->Basira feelings all over again.

(BASIRA IS HER SKY!!! In the domain of The Buried, Basira was her sky!)

- Relatedly: gODS the voicework this episode!! The stuttering, the words getting stuck in Jon’s and Daisy’s throats, having trouble making their way out!! The pain they seemed to cause? It was so good!!!

- And count on Jon to accidentally lighten up the mood with self-aware comments/mood whiplash/jokes in the wrong situation:

(MAG132) ARCHIVIST: […] But I know what I’m doing; this time, I do. Huh, I hope. […] I should be able to find my way back to it… I think. Wish me luck…! … Although I suppose if you’re hearing this, then I… I didn’t have any. I don’t know. […] ARCHIVIST: Are you… Are you okay? DAISY: No. ARCHIVIST: Sorry. Obviously. No, I just meant… Y–you sound… okay. […] DAISY: […] Where are we? ARCHIVIST: The coffin. We’re in the coffin. I–It leads to… Well, it’s got a lot of names. Choke. The Buried. Too-close-I-cannot-breathe. DAISY: [CHUCKLES] Yeah, yeah… sounds, sounds right. […] ARCHIVIST: Come on. Let’s get you out of here. DAISY: Can’t… can’t move… Even if I, if I could… there is no… way out… ARCHIVIST: It’s okay… I’ve… I’ve got a plan. DAISY: I–is this like all your other plans? […] ARCHIVIST: Okay, hum… What do you want to talk about? DAISY: Don’t, I–I don’t care, I… I… I just, I just want someone to hear me. ARCHIVIST: I’m not going anywhere! DAISY: [NERVOUS BROKEN CHUCKLE]

He even managed to make Daisy chuckle multiple times!! I was so fond of their weird little friendship in MAG096 (Daisy snorting when the “Archivist who can’t read” got roasted; Jon singsonging his “Whatever you say~” at the end), I’m so glad to find this aspect of their dynamic already back!!

- Jon sounded… a bit sad? To learn that Daisy still planned to kill him?

(MAG132) DAISY: … I was gonna kill you. You know that, right? ARCHIVIST: [CHUCKLE] I mean, I definitely got that impression when you… dragged me into the woods for an execution. DAISY: N–no, no. No. After the mission. I was planning to kill you. ARCHIVIST: I… I did not know that.

Jon probably thought that they were already past that, uh. (He thought he was on good terms with Daisy by that point or, at the very least, that they were on the same side? I think he really regarded her as part of his team even though she didn’t have the “assistant” status? So yeah, must hurt a bit to learn that, no, she was planning to get rid of him right after The Unknowing ;;)

- Alright: there have not been a lot of talks involving Jon in which I found that a balanced, mutually beneficial exchange was happening, and that weren’t about tearing each other to pieces? It’s the case with most of his exchanges with Georgie, and there was a bit of that with Gerry; but otherwise… it often feels like the discussion tips in one direction, either Jon opening up and the other not managing to share something of themselves, either the other person opening up and Jon having to shut up (Melanie in MAG131, Basira’s overall stance).

There was something really significant in the fact that Daisy wanted to talk and even agreed and welcomed Jon’s compulsion, when… it had previously squicked her so, so much and been lived as an extortion:

(MAG061) ARCHIVIST: If you don’t mind me asking, how long have you been sectioned…? DAISY: I do mind. … Fourteen years. […] ARCHIVIST: Right! Thank you! Are you quite alright? DAISY: No. I never told that story to anyone except my old Sergeant. ARCHIVIST: I’m not sure I, uh… DAISY: I should go.

(MAG091) BASIRA: Just let him go. DAISY: You don’t know what he is. You don’t know what it’s like to have your secrets pulled out like teeth, just because he asked?

(MAG132) DAISY: Jon…? ARCHIVIST: Still here. DAISY: Good, I… Good. I, I, I, I–I want to talk. ARCHIVIST: Okay, hum… What do you want to talk about? DAISY: Don’t, I–I don’t care, I… I… I just, I just want someone to hear me. […] I–I want to, but it’s… difficult. ARCHIVIST: Would it help if I… ask? DAISY: … Y–yeah, yes, alright. Do your… thing. ARCHIVIST: Right, hum… [CLEARS THROAT] Uh… [STATIC:] H–how are you feeling? DAISY: Uh… Scared. I–I’m, I’m, I’m scared. I’ve been scared the whole time here.

Jon getting good at consent when it’s about compelling people he treasures é_è (… He did not treasure Jared very much, though.)

The simple fact that Jon was so adamant about getting Daisy back, and the fact that Daisy highlighted so much that thanks to him… she wasn’t alone anymore!!

(MAG132) DAISY: [LABOURED] Just… alone, I, I think… I think… I hear this, sometimes, s–singing, when it’s, uh, when it’s wet, or, or scratching, trying to get out… but I don’t… I don’t th… don’t think there is anyone… there; it’s… it’s just, just me… ‘till now. […] ARCHIVIST: Come on. Let’s get you out of here. DAISY: Can’t… can’t move… Even if I, if I could… there is no… way out… ARCHIVIST: It’s okay… I’ve… I’ve got a plan. […] ARCHIVIST: No… I know where we are! There isn’t no out, not here. This is… this is forever deep below creation. Where the weight of existence bears down… This is The Buried, and we are alive… There isn’t even an up. … Oh god… What have I done! What have I done… DAISY: N–not alone, though… ARCHIVIST: [SOFT] No… No, not alone. […] ARCHIVIST: I don’t… It’s like… My mindlink is… it’s stronger… [PANTS AND STRUGGLING NOISES] DAISY: Slow down! I–I can’t… ARCHIVIST: Don’t let go! Come on, we’re close. This way. Here. Here! Come on, push!

(Yes, hello, guess who got GIGANTIC platonic Orpheus and Eurydice vibes in this episode!!)

- I feel that there was something extremely precious, precisely because both Jon and Daisy gave something to the other? It wasn’t only about hearing Daisy, it was about… helping her, emotionally, by sharing his experience and his own struggle, and explaining right away where he stood. Jon didn’t hide from her? She uncovered herself, and he showed his weakness in return, and it was just so satisfying and soft?

(MAG132) DAISY: […] L–leaves you terrified for when it s–starts a–again and, wh–when it does, you, you’re s–scared that it’ll… n–never–never stop… I thought, thought I’d… I’d ne–never see the s-sky again, never… never s–see Basira… B–but, but now… You, you’ve got out o–of o–other s–stuff like this, maybe… maybe you’ll get out of this and, and take me wi–with you… […] Y–you know what I thought wh–when I woke up here? I thought this was hell; I wa–, I was dead, and within hell. And I… eh, I–I knew I deserved it… I don’t want t–to be a s–sadistic predator again… I–I don’t want to… hobble around, like some pathetic, wounded prey either… I don’t know which would be worse. And I’m sc–scared, now, that I’ll never get the choice… ARCHIVIST: One thing I’ve learned, Daisy, is that we all get a choice. Even if it doesn’t feel like one. […] Daisy… you should know I’m… If I wasn’t human before, I’m, uh… I’m even less now. DAISY: Yeah. Well. At the moment, I don’t care…

Re: the mention of choices… So, are we meant to deduce that Jon was indeed conscious (and remembers) Oliver’s words from MAG121?

(MAG121) OLIVER: […] The thing is, Jon, right now, you have a choice. You’ve put it off for a long time; but it’s trapping you here. You’re not quite human enough to die, but – still too human to survive. You’re… balanced on an edge where The End can’t touch you – but you can’t escape him. I made a choice. We all made choices; now you have to– […] Make your choice, Jon.

I wonder if we’ll get Jon’s retelling of how he lived MAG121, how he came back from his coma. I like that, however, he is aware that he had limited options due to circumstances and that it… doesn’t really feel like an empowering choice when you’re forced to pick between two unsatisfactory options, neither of which you really want? But at the same time, I HATE THAT, ONCE AGAIN:

(MAG092) ARCHIVIST: I never chose this! ELIAS: You never wanted this, no. But I’m afraid you absolutely did choose it. In a hundred ways, at a hundred thresholds, you pressed on. You sought knowledge relentlessly, and you always chose to see. Our world is made of choices, Jon, and very rarely do we truly know what any of them mean, but we make them nonetheless.

… we’re falling back into “Elias might have been right about this” territory :||||||| (… he had also told Daisy that Calvin Benchley was “the first human being” she had murdered – although we knew he had probably been deeply messed up by a power, probably The Slaughter? And Daisy explicitly said that she felt that Elias had been right about her. He had also told Jon to not dwell too much on a distinction between human/“monsters”… And he’s being proven right lately, with Helen and Melanie and now Daisy herself… So gODSDAMNIT, stop that trend of Elias being apparently right-except-it-might-not-be-exactly-what-he-meant/him-still-being-wrong-about-the-consequences, it causes me pain.)

- ;; I wonder if Jon will have another discussion with Georgie soon-ish, because… it feels like he’s learning a lot, and forced to acknowledge and to accept that a lot of his original distinctions and categorizations weren’t really standing, in the end. Jon won’t do what Georgie was encouraging him to do (to stop getting involved, to… go back to normalcy? Like she did?), but I think they could still have a satisfying discussion about… their own choices in the matter. The thing with Jon, when he was living with her, was that he was afraid of turning into a “monster”, feeling dispossessed, and constantly thrown under a bus, and trapped in schemes and organizations he couldn’t really understand. He’s been more in control during season 4 and seems… to have found a drive, somehow? To know, a bit more often (even if it’s punctual) where he wants to head and what he has to do to accomplish it. I don’t know, but I feel like it could be very interesting to have Georgie and Jon interact again now that Jon knows a bit more where he stands?

-  This was the first time that Jon acknowledged to someone, although implicitly, that he’s aware of what happens with his dreams é_è

(MAG132) DAISY: I realized you were in my dreams. Reliving t… this. The coffin. You were there. ARCHIVIST: … Yes. DAISY: Didn’t think it was real. Not really… Just my mind putting you there, because I h–hated you but… no. One night, you turn up in a new shirt. Didn’t fit you. Not your style. I didn’t think much of it, it was just a d–, a dream. Then you come back from the States and… guess what you’re wearing. ARCHIVIST: Oh… DAISY: Realised what was happening then. Realised you weren’t human. Needed to die, as soon as it was safe. Never mind Elias and his… insurance. ARCHIVIST: And now? DAISY: Don’t know. I miss dreaming. Y–you don’t sleep… down here.

;__; So Jon had indeed understood what the deal was with that (MAG113: “I’m not too concerned, to be honest, my dreams are, uh... well, let’s just say I don’t think they’re going be letting anyone else in any time soon.”)… and still agreed to take Jared’s statement. Kinda hoping for Jon that Jared will either die soon-ish, or that he will push Jon away from his dreams like Jude did (MAG120, Elias: “he even longs for the terrible dream of the melted woman, who would see everything desolated without rhyme or reason. But she was beyond his reach the moment she knew he was there.”) I wonder what allowed Jude to do this, by the way? Julia and Trevor were also distant from Jon (they couldn’t pick up his scent), but Daisy hadn’t been able to do that to Jon, since she was still stuck with the dreams? Could she be able to do that, if she learned it was a possibility? Or is it a Desolation thing, or something you’re only able to do when quite powerful yourself?

- Re: Daisy’s “Elias and his… insurance.” comment: I wonder what she was referring to? Was it about the evidence he had against her?

(MAG082) ELIAS: A genuine threat, I’m sure, but right now what you’re really trying to figure out is, if I have any evidence that could make it back your people.

(MAG092) ELIAS: Allow me. She rightly suspected that I held evidence of various murders she had committed, and that I sent this to her superiors. DAISY: … ELIAS: She’s quite the killer, your partner. All in the public good, of course. And she was correct, I spent some time acquiring that evidence. Or creating it. And while your superiors don’t much care about the killings, the fact there is proof... They’re not happy. And they want you brought in.

(Meaning that if she had killed Jon, Elias would probably have thrown her under a bus/at the nearest police officers… Elias had already leaked his “evidence” to the police so there were already people searching for her. Then again, Elias would have been able to tip them whenever to tell them where she was ;;) Oorrrrrrrrrrr… was it… about Basira…………………..

(MAG092) DAISY: What do you want? ELIAS: Collateral. [PAPER IS PUSHED ACROSS THE DESK] DAISY: That… What? ELIAS: A contract of employment. For Basira.

Meaning that at this point, Daisy was ready to kill Jon right after The Unknowing, even if it meant putting Basira in more danger: true, according to what Elias told them, it’s only if he dies that the assistants(+Jon?) die, but ahahaha, if she had killed Jon, we can’t really expect that Basira’s situation would have improved, uh… (……. Terriblest thing that Elias could have then done to Daisy would have been to appoint Basira as next Archivist, probably, in fact.)

Anyway, if Basira finally tells Jon & the others that Elias had requested her presence (MAG127), that she talked to him, and what he said… I would really like for Daisy to now be The One in charge of the prison visits and dealing with Bouchard’s bullshit? Sadly, Daisy’s relationship with the police hierarchy fell out due to Elias sending the tapes and, if they learn that she’s actually still alive, they would want to remedy to that.

(But picture this: 40-ish episodes after Elias got Daisy & Basira stuck with the Institute, and taunted Daisy over the prospect of either killing him either getting him sent to jail… Daisy, visiting Elias who is finally in prison. P L E A S U R E D  I N H A L A T I O N.)

- *cries* And Jon tried anyway…

(MAG132) ARCHIVIST: I… heard someone. He was begging for me to save him. Said he couldn’t breathe. … I can barely breathe. I couldn’t find him. But I am… n–not here for him. I don’t even know him. I can’t… I can’t see… anything here… for all this… this place closes around me, I… I feel adrift. Like nothing can get through the dirt, and the muck, and– … I still have Daisy’s tape… And I still think I’m going the right way. When I move at all.

;; Yeah, reminder that there are… other people trapped there. I wonder if it could have been specifically Isaac Masters, Daisy’s colleague who had disappeared (MAG061)? But the coffin probably took many people (it had taken “John” in MAG002)… I wonder what the group will do with it, now? I doubt that Jon will try to go inside again to save the other people trapped in there but ;; Urrkkk, it hurts a bit to think that yes, there are still random victims just… there…

- Jon has been… so SOFT in season 4… So many “Sorry”s, so many moments when he explains himself? I’m remembering the end of season 2, when he had just understood about the Not!Them taking Sasha’s place, and had decided to try to get rid of it, and had… steered Martin and Tim out of its way? He had apologized but he had not explained nor left a trace of what he was doing. But now, he left a tape behind for Melanie and Basira, explaining his intentions and his reasonings:

(MAG078) ARCHIVIST: Yes… Yes, and I’m… I’m sorry. About everything. MARTIN: J–Jon… look, are you– TIM: Ok. Right you are, Jon. We’ll be going.

(MAG079) ARCHIVIST: [WHISPERING] I’m sorry. Martin, Tim… Sasha. I’m so sorry. I should have… I didn’t… I’m sorry. God, I’m so sorry. NOT!SASHA: I wonder, if I wear you, will I really become the Archivist? Rob The Eye of its pupil? Probably not. Better to just kill you, I think. Yes… I think that would be best. ARCHIVIST: [WHISPERING] Please forgive me. If you’re still alive… if–if you hear this. Get as far away from the Magnus Institute–

(MAG132) ARCHIVIST: [CLICK] [INHALES] Hello, Melanie. I… know I said we’d wait until Basira was back. B–but I–I don’t… I–I’m sorry. I, I–I know she won’t– She’d want to do it a different way. But I know what I’m doing; this time, I do. […] Wish me luck…! … Although I suppose if you’re hearing this, then I… I didn’t have any. I don’t know. I’m… I’m scared. [SHORT CHUCKLE] When does the fear go away…? A–anyway, I–I’m sorry. You too, Basira, if you’re hearing this. I know you’d… stop me. You’d be right to, but… But if this goes wrong, all you lose is– …  I’m not risking anyone else. And I know– … I–I think… I can get her out.

(No mention of Martin nor Georgie in this one ;; Once again, Jon has trouble staying aware of more than his immediate surroundings, and is not really thinking about the consequences or people that could be impacted when they’re not right under his nose, uh.)

And yes, Jon is going back to this old habit of his that he was fighting so far (-> going behind people’s backs when he felt that someone had to take on a burden)… But the reasons he’s doing this are very sad and beautiful at the same time? He is being absolutely self-deprecative? It’s because he doesn’t feel like he’s as valuable as them? And despite the fact that it costs him so much, that he’s still afraid? I had been wondering, when Jon woke up from his coma, what would change with him – would his fear get cauterized? Would he be more casual about the concept of hurting people to feed his god? But no, indeed: so far, it’s really… Jon evolving and becoming more and more open about his feelings, and what and whom he cares for, and getting actively protective of them even if it means getting harmed himself. And that “I’m not risking anyone else” once again reminded me of:

(MAG118) TIM: No! You knew I might not be coming back! ARCHIVIST: I knew none of us might be coming back, and I’m not gonna let anyone get killed for nothing! TIM: Oh, except for those people in there! ARCHIVIST: They’re already dead! TIM: Not all of them! ARCHIVIST: I am not losing you as well!!

(T____T)

Jon lost Sasha and Tim already, of course he wouldn’t want someone else to put themselves in danger, even if it’s to rescue Daisy…

And meanwhile: we know that Martin is… doing the same thing to protect the others. And meanwhile: Basira might have been doing the same thing in her own way. They’ll really need to get all together in a room and to talk out their respective self-sacrificing decisions at some point, huh…

(- I’m a simple person and since Jon is being a softie, I want: * Daisy and Jon just spending time together (whenever Daisy is not glued to Basira), OKAY. * Daisy deciding that alright, you think Blackwood is involved in something dangerous and you would like him back? Okay, let’s go. I always dreamed to destroy Elias’s office a bit, should get a reaction out of that Lukas guy. * GET MARTIN BACK AND HAVE THAT VERY QUEER SLUMBER PARTY IN THE TUNNELS GDI!!! THERE ARE SIX OF THEM WITH HELEN – JONNY AND ALEX, DON’T YOU WANT TO MAKE A WHOLE EPISODE OF THEM PLAYING GAMES TOGETHER?? * Dunno how to justify this in this post but my pretext is “Jon is being so good at communication/giving Daisy what she needed at the point she was” and so: alright, you know what Martin needs, Jon? A present of a fancy blank notebook, to go back to his poetry, because encouraging is caring (and notebooks are love) :||||)

- efzjdisncefd Basira just got the Best Entrance Ever, I don’t know which one was the winner until now but she supplanted it right away:

(MAG132) ARCHIVIST: Tape recorders. Must, must be… dozens of them…? [JON’S OFFICE DOOR OPENS] BASIRA: Jon, you stupid idiot! What did you think?! DAISY: … Hi. BASIRA: [FAINT]… Oh my god… [CLICK.]

Barging into Jon’s office, not even looking at who is there, screaming at Jon right away. Glorious.

Did she know he had just come out (/done something to ensure he’d come out), or was it a coincidence and she would have been screaming at an empty office if Jon hadn’t come out just now? The timing was a bit too perfect, so I’d be leaning on “Basira did something”, but… were the tape recorders going wild only located into Jon’s office, or were they having a fit in the entire Archives / in every part of the Institute, actually? (Because mm, we know there was an incident involving a leak of statements in 1999 and right, we never learned more about that… I’ve been assuming that it was Gertrude’s doing, to mess with Freshly Appointed Head Director Elias, but we still don’t know if there is a Story behind it.)

;; There is still the question of what Basira was doing, and what Elias’s suggestion from MAG127 was. Did he tell Basira to leave Jon to his own devices and that he would find something? (I doubt the series would go that way since it would nnnnot be flattering for Basira… but then it could also make her even more prone to close off her own agenda and to Do Her Things without sharing.) Did she go to find someone or something that would pull people out of the coffin? Jon couldn’t feel his anchor anymore, then felt it again, so something happened; the question is mostly… who did it.

The Eye shouldn’t have access to the inside of the coffin, so even if Elias knew that Breekon was about to deliver it… I wonder if he could have guessed Daisy’s current state? Because uh. Regarding The Archives’ Defender: Melanie is not an option anymore since she’s not Slaughter-fuelled. Daisy explicitly told Jon that she was wary of The Hunt, didn’t like who she used to be when under its influence, and will probably consciously try to slow down on the violence – she could still help in defending the Archives a bit, but… she probably won’t be as effective against Spooks as before if the the point is to avoid losing herself again. Which means that they indeed got her back but that she probably won’t be a viable option anymore as a ~defender~. Which means they’re back at the same point.

(EXCEPT THERE IS HELEN!! And I insist, reliability aside, sounds like the best Protecting option. But well. Reliability aside.)

So. What did Basira do, where did she go, what did she bring back with her? Mike-if-turns-out-he-wasn’t-dead would be the right time, since Daisy had been the one to ensure that he (or his corpse) would eat dirt; Trevor&Julia would be hilarious and fitting thematically (relationship to The Hunt + Jon’s shirt was presumably “borrowed” from them); Jude would be another case of Jon’s Life Being Like This; someone who’d turn out to be Actually The Real Peter Lukas oh-shit-what-is-the-thing-running-the-Institute-then would be hilarious for the ensuing panic (I’m still ??? that Elias never ever acknowledged that Peter Lukas… exists…? is running his Institute…? it still feels so fishy?); but at the same time, they all feel a bit like… done deals? People we’ve already explored a bit through meeting them and getting their statements, and are now finished with?

Amongst the characters introduced and recurring across statements but never met, we have Mikaele Salesa (has he died, is he hiding from officials because of tax fraud?); Adelard Dekker (… if he isn’t dead already); Annabelle Cane (but The Web, accepting to be straightforward instead of sneaky and cryptic? In MY Magnus Institute? Ha!). Cosmic Irony would dictate Simon Fairchild since Jon explicitly expressed reluctance to meet him, and now I’m hit with the mental picture of Simon peacefully giving his statement to Jon while sipping tea before going to yeet himself in the coffin because he was trying to find a way to Make His Grand Exit after a long and fulfilling life of wrecking other lives, right in front of Jon; you’re welcome.

One question is whether or not there were two agendas at work for Jon’s next move? On the one hand, Elias tipped Basira towards… something that we don’t know about yet. On the other hand, The Web seemed supportive of leading Jon a bit and, unless Jon tragically misunderstood its message (but then, The Web would have intervened again?), the point in MAG130’s tape was indeed to make Jon focus on The Flesh, its avatars, the idea of his own body as an anchor for him to get inside the coffin and get Daisy back. AND ON THAT NOTE, I’m now entertaining the notion that Breekon might have been sent by The Web itself, since the way he described why he came was… a bit reminiscent of your typical person doing something/going somewhere because of the Spider (and specifically sounds a lot like Oliver’s self-introduction)?

(MAG128) ARCHIVIST: [SIGH] [STATIC:] Why are you here? BREEKON: Dunno. ‘t’s not right… on my own… not right… No point in doing it on my own. Don’t know what happens now… Thought I might kill you. Missed my chance. Thought I might just… deliver something. So here’s a coffin. [RATTLING SOUND] In case you want… to join your friend.

[…] (STATEMENT) “I am without him, now. I. am. I can feel myself fading. Weak. No reason to move. Nothing to deliver. But I am no longer tied to the casket; so you can have it.”

Not being able to give a clear reason, then rationalizing about it while doing it anyway? So I guess The Web could also have put the coffin in Jon’s path, since it wasn’t against (/was actively supportive of) the idea of him getting Daisy back? Or, at least, of Jon going down into the coffin and experiencing The Buried, but being able to get back out. I don’t know! Basira, what were you doing and how much will everyone regret that you had a talk with Elias ;;

- We heard that Basira wasn’t… pleased about Jon doing his Things behind her back (“Jon, you stupid idiot!”: Jon can’t only be an “idiot”, can’t only be “stupid”, he has to be a “stupid idiot”), but objectively:

(MAG128) BASIRA: I’ll try and be back in a week or two. Don’t think about me. ARCHIVIST: Right. BASIRA: And don’t open the coffin.

From 3rd March (MAG128) to 24th March 2018 (MAG132 – though unclear whether it’s the date he went inside the coffin or came out of it, or if it’s on the same day anyway), it’s been three weeks of Basira being gone and not giving any news. She didn’t promise to come back soon, but still – that was… way more than what she had told Jon to expect, and he held on during that time. And he did respect the other half of what she had asked of him (to not Know about what she was doing). So overall: she will probably be mad, and will have reasons to be since Jon went back to doing things on his own while deliberately going against other people’s wishes (doubly: both hers, and Melanie’s, who had been a bit more aware of Jon’s plan, and whom Jon had told that he would wait for Basira), but there were also… circumstances.

(Since Basira has been gone for three weeks: I wonder if she got sick, too? We don’t know how long Tim’s trip to Malaysia lasted before he had to come back to the Institute, so… How did Basira feel during this time? Did she bring statements or research along to tide herself over? Or was Tim’s case a bit special, and was Elias responsible for Tim feeling like a wreck because he wanted Tim back for Jon’s return?)

- I DON’T KNOW HOW BASIRA WILL REACT TO DAISY’S RETURN, GDI!!! Jon was expecting Basira to not hold too much of a grudge if he managed to bring Daisy back, and he did! But I’m… not sure it will work to pacify Basira? ;; Because technically, it adds another piece on the chessboard, and we don’t really know what to expect of Daisy out of the coffin, nor if she’ll manage to be stable for long… And that means having to make sure that the police doesn’t pay attention to the Institute (while Elias, who was keeping them mostly at bay, is gone), since they were after Daisy…

But at the same time, maybe it could lead to finally getting a Team Archive back to try and all survive together…? ;;

- Relatedly: whether or not Basira is ready to work with Jon again, since Daisy is back… What will be the next focus? (Sometimes, I feel like Jon is acting a bit like in a Dating Game without romance: took the Melanie route, unlocked the Less Dramatic ending; took the Daisy route, unlocked the Happy Ending somehow?!; maybe needed to clear out Daisy’s path in order to unlock Basira’s own route… and then, there is Martin. Hidden route, True Ending?? Jon said “I am very thirsty” and like, yeah, we know, we heard you going after Martin, Jon. Where is Martin.)

There will be the… well, whatever the HECK happened with the tape recorders at the end of MAG132, and Daisy will probably need some rest, and we’ll need a debriefing/argument with Basira. But then, what’s next, what will the next goal consist of? There are still a bunch of Mysteries that should become relevant again at some point soon (what is Agnes’s story? What is Hill Top Road’s deal? What happened to Adelard Dekker? How can they proceed to ensure The Watcher’s Crown doesn’t happen? What are The Web’s intentions and how much is Jon tied to that? What is the New Emergence?); we could get some answers if Jon continues to read statements about rituals that Gertrude had stopped, or if he keeps getting information through His Inner Door, though. We might be a bit done with Buried and Flesh statements for some time, since both were a bit more represented in season 4 so far and they have now served their purpose.

- Okay, so, Patreon experience: here is what we initially got when the episode was posted:

… and yes, it was 6 seconds of David7 crashing on the floor and complaining that he was covered in goo. Picture this: you’ve been tensing up for the last hour on your commute back from work with nothing to distract you, you’re fidgeting for the new episode, knowing thanks to the title listed on Monday that It Is Coming, We Should Be Going Inside The Coffin, How Awful Will It Turn Out… and you’re welcomed by David7 observing that he’s covered in goo. I personally lost it, hurt myself in my confusion (I still had some mascara on, it doesn’t do great with hilarity tears.) So yeah. Now, we Know that apparently, David7 is their placeholder for new posts! =D

(The case file was incomplete, too, so! Extra dread! How much time passed while Jon was in the coffin?! Didn’t even have the satisfaction to think that the end of 2018 and the Institute’s 200th anniversary had passed! But that was corrected too, and it’s… probably fine. Unless March 24th is only the date Jon entered the coffin, not when he got out.)

MAG133’s title is… ominous and uuuuuuuh, hard to draw any prediction from apart from “… I don’t like this”. Not-risky bet would be The End? Would probably be awful if it happens to be a Corruption one? ………… As for second meaning: I just really hope it’s not Peter&Martin again ;;

[sweetiepie08]

Sweet Spooks 10/6/18

Extraordinary Tales

How can you have a celebration of favorite horror stories without Edgar Allen Poe?

Extraordinary Tales is an animated anthology film adapting several stories from Edgar Allen Poe. The segments are framed by Poe’s spirit, in the form of a raven, debating with Death over whether or not to cross over to the other side. Poe attempts to stall Death by telling her his stories. 

The tales told include The Fall of the House of Usher, The Tell Tale Heart, The Facts in the Case of Mr. Valdemar, The Pit and the Pendulum, and The Masque of the Red Death. Each segment in animated in a unique and distinct style and is narrated by some big names in horror such as Christopher Lee, Bela Lugosi (an archived recording), and Guillermo del Toro 

My favorite segments are the Tell Tale Heart and The Facts in the Case of Mr. Valdemar.

The Tell Tale Heart is one of my favorite horror stories. I love that it is told from the very unreliable perspective of the killer who details the events of the murder all the while using it as proof of his sanity. (Because who wouldn’t go through all these meticulous steps to murder a man supposedly because his eye is creepy? Crazy people, that’s who.)  The segment is animated in a stark black and white  and is narrated by Bela Lugosi using archived audio of him reciting the Tell Tale Heart. The grainy quality of the audio adds to the mood as it gives it a feel like you’re listening to police tapes of an interrogation. I definitely recommend checking this one out in written form too if you haven’t already.

I’d never actually heard of The Facts in the Case of Mr. Valdemar, but I’ll be sure to seek out a place where I can read the full story. In this tale, a doctor becomes fascinated my the concept of hypnotism and it’s possibilities in the medical field. While out to dinner with his friend, Mr. Valdemar, he won’t shut up about trying hypnotism on a dying person. Mr. Valdemar jokingly promises to be the test subject upon his death if the doctor will please talk about something else. A few months later, Mr. Valdemar contracts a fatal illness and the doctor insists on taking up his friend on his promise. 

This is another story which doesn’t answer too many questions and leaves you wondering “wh-what happened? What does it mean?” It is also animated in a style reminiscent of old sci-fi comics which I feel is appropriate given the horror comes, not from something supernatural, but from humans messing around with something they probably shouldn’t. 

This film can be found on multiple streaming platforms including Netflix and Amazon Prime. I highly recommend it to anyone with an interest in Edgar Allen Poe, Gothic horror, or animated horror. 

Edgar Allen Poe’s tales remain spine chiling to this day. He is the master of horror literature for a reason. If you haven’t checked out his work yet, now is a good time to try it and I feel Extraordinary Tales is a good introduction.

(Psst, @imaredshirt, @melcecilia14. I’m tagging you guys in this because I think you’ll really like this one.)