#besides. it's not like there's one main plotline exactly. there's a lot of arcs. usually like a big one each year but still

[thousand-winters]

Fascinated by people just getting into WTNV and asking if there is a list of episodes to listen to, omitting the "unimportant" stuff I assume.

Chill, you all. Night Vale has been ongoing for around 11 years and it's yet to show any sign that it intends to end any time soon, so you can take your time. Even if it ended soon, there is time.

Enjoy the episodes as they are. Chew on them.

WTNV does this very special thing of making the town feel alive, not every citizen gets an arc or even a spotlight, but they're constant, they're there, living their lives. Those little details, little mentions of everyone growing and continuing living as time pass make it feel so nice.

And then, one day, Night Vale surprises you, and, oh, hey, remember that one intern whose death wasn't confirmed? Well, he has come back, and if you remember him and remember what happened to him at the time, you'll be able to connect the dots of the current arc faster.

The MOST unexpected things come back. The town is alive.

Just enjoy the ride! Enjoy Cecil's voice. Enjoy listening about this friendly desert community where the sun is hot, the moon is beautiful, and mysterious lights pass overhead while we all pretend to sleep.

[generic-hufflepuff1]

The Fun Part (Tma Analysis)

Heyo! Here's the part two to This, using the data from Here.  

Now in part one I give some of my rationalisation as to why certain Entities show up in statements less often than others.  

In this one I’ll just be pointing out some interesting things in what the numbers say and/or some rationalization for weird numbers or sometimes just making up a in universe reason for some of Jonny’s writing quirks (Like how if you look at the numbers Jonny just finds ideas for Hunt episodes harder to think of) 

Im gonna be breaking this down into seasons 

Season 1

In Season 1 the most frequent entities are The Corruption and The Stranger (8 episodes each).  

Both of these make sense.  The main antagonist of Season 1 is Jane Prentis and having looked at all the Stranger episodes* it is quite clear that it is Jonny setting up for future arcs and plotlines.  But that's the boring reason. The fun reason is that The Corruption is ready to perform its ritual and The Stranger is busy setting up for their own ritual and as a result there are plenty of statements within easy reach of Jonathan Sims for these two entities in particular, with two to four times the number of statements of the other entities.  

Other notable entities are The Spiral and The Flesh.  

Mostly just because they each get a couple more entities than is the usual as ten of the fifteen entities have between two to four episodes.  The Spiral gets a bit of a boost from Micheal popping up every now and then and that works for me.  The Flesh is a bit weirder I can't really think of a writing reason for it all I can say is that they tend to be quite striking and it's quite clear Jonny had a lot of fun with them and honestly that's fair.  But again, boring.  One reason could be that as mentioned in the other post there is a bit of a requirement for a statement giver notably they need to be desperate enough and you know still alive to go to the Archives, and these statements** are quite obvious as The Flesh has no patience for subtlety, but still enjoys the act of delaying the suffering.  

And the final segment “What's the Eye Doing?”

The reason i'm including this is because Ive noticed that the Eye is strange in that it is the most popular entity over all of the show but is not the most frequent in most of the seasons.  So Im just gonna keep an eye on it.  

The Eye shows up in three episodes: 12 First Aid, 23 Schwartzwald and 40 Human Remains,  and of these only really the Mag 23 is the only real statement about it I just find this interesting no real notes about it though.  

*1 Angler Fish, 2 Do Not Open, 3 Across The Street, 24 Strange Music, 28 Skin Tight, 34 Anatomy Class, 39 Infestation, 40 Human Remains

** 5 Thrown away, 14 Piecemeal,  17 The Boneturner's Tale, 18 The Man Upstairs, 20 Desecrated host, 30 Killing Floor

Season 2

Now sure this season has three entities (The Stranger, The Buried and The Spiral) that have more episodes than the others and I will talk about them but what stands out more than anything else is just how spread out it is. I mean with the exception of those three and the Extinction the rest have between two to four with half of them having four and Hell even The Extincion gets one.  This is by far the most fair the spread ever gets.  Here’s the spread:

6: Stranger, Buried, Spiral

4: Desolation, Dark, End, Web, Eye

3: Vast, Flesh, Corruption

2: Hunt, Slaughter, Lonely

1: Extinction

So Why the Stranger, Buried and Spiral

Again the Stranger is being set up for season three and are working on their ritual, not to mention the presence of NotSasha gives a sizable boost.  The Spiral is a bit stranger but at this point Micheal is still running around and this gives it the needed boost.  The Buried is the only one that is not immediately obvious, after looking through the episodes* it still baffles me, as far as I can tell it's due to the focus on the Tunnels.  It could be that Jonathan in an attempt to understand the Tunnels tried to find similar statements and as a result the trend developed.  

The Extinction?

So season 2 has the first mention of number 15, well maybe it does.  See the thing with most of the Extinction’s manifestations is that it could maybe be something else entirely.  The Extinction episode of the season is 65 Binary and might be the Spiral instead but the focus on a new type of life and technology means that it is very difficult to say really.  

What's the Eye Doing?

The Eye falls right into the average place in the hierarchy for the season with four episodes.  Those being: 53 Crusader, 60 Observer Effect, 62 First Edition and 79 Hide and Seek.  These seem to work to expand what exactly the Eye is.  As I said, season 1 kind of lacks this and here Mag 53, 62 and 79 bring up the weirdness of the archivist, whereas Mag 60 explores how the Eye can manifest.  But the Eye isn't special every single entity gets fleshed out in season 2.

*41 Too Deep, 50 Foundations, 51 High Definition, 61 Hard Shoulder, 66 Held in Customs, 71 Underground

Season 3

This is the run away season.  This one is similar to the previous one but it does skew quite wildly at its end to favour the Stranger, for entirely understandable reasons.  But ultimately is still quite fair with only The Eye and The Extinction fall outside the three to five range.  

So the Stranger 

The Stranger has ten episodes this season and why is quite obvious as the climax of the season revolves around the Stranger.  Not much to say here.  

Again the Extinction

Now my notes had 114 Cracked Foundation as one of the Extinction episodes but for some reason I can no longer find any mention of it on the Wiki so I have no Idea what happened here.  My guess is that in the wake of Mag 196 and 197 this particular entry got a lot of attention and the link with the Extinction removed. 

What's the Eye doing?

This is the first season in which the Eye starts to take up the main spotlight with seven episodes. However looking through the statements* and it does not really appear in the statements but rather in the pre and post statement drama, as Jonathan and Elias use their abilities.  So as a result the Eye ends up feeling very different compared to the other entities and we don't see the ‘Horror’ of it for a lot of the podcast.  

* 82 The Eyewitnesses,  92 Nothing Beside Remains,  105 Total War,  106 A Matter Of Perspective,  117 Testament,  118 The Masquerade, 119 Stranger and Stranger

Season 4

So season four is very, very weird in that the Extinction is the most frequent entity (tied with the Eye).  It does make sense as Jonny needs to catch the audience up on what exactly it is as it does not have the breath of work that the other entities have, so as a result Lucas spends his Time telling Martin about it. 

Other notable Entities

The Lonely is also quite popular this season with five episodes but that also makes sense due to not only the presence of Lucas but also Martin’s fall into the Lonely.  Other than that The Hunt only has one statement* that has to do with it’s ritual.  The combination of this and the Extinction’s frequency in this season and the hunts underperformance in other seasons (4 in season 1, 2 from season 2, 3 from season 3 and 1 in this season) means that it has just slightly one more episode than the Extinction.   I do cover my rationalisation for this in the other post (Here)

What’s the Eye Doing?

Leading the pack that's what.  This season also has what other seasons lack statements that the Eye features in.  Now this is probably Jonny finally having the chance to explore the concept properly as it is a bit harder to really understand, but in world it could be due to a combination of Elias trying to keep Jonathan blind and Jonathan trying to explore his new identity as a ful blown avatar and going about it like a baby gay, consuming all media surrounding the topic.  

*133 Dead Horse

Season 5

I debated not including this section but hell I'll just add on any updates if it's necessary.  

So in this one to (to no one's surprise) the Eye is the golden child in this season after a brief jaunt into a domain for each fear the focus becomes almost entirely Eye focused, and if you want to be technical you can just add the Eye to every single episode but I did not.  

The runner up

The Web is definitely making up good numbers especially with how the finally is turning out. 

Other notables

The Lonely, Buried and Spiral all get a little above average.  Why? Well Martin has to deal with some baggage from Season 4 and Gaslight Girlboss is still running around but the Buried is a bit weird.  Again I think jonny just finds it easy to write claustrophobic horror, but again thats boring.  So lets have a look* and when I did I noticed that all three of these (and the Eye and Web) all are in 167 Curiosity so that adds a bit to the count.  But other than that its clear that it’s easy to add the Buried on top of another entity so its clear that the Eye simply likes how the Buried spices up the other flavours of fear.  And then finally the Extinction and Slaughter only get one each (163 In The Trenches and 175 Epoch) and they are the compulsory exploration episodes and unless the finale really is a complete curveball this probably won't change.  

What’s the Eye Doing? 

Having the time of its god damn life.  

*166 The Worms, 167 Curiosity, 184 Like Ants, 185 Locked In, 195 Adrift

[keen2meecha]

Novel Prep Tag: gifted

Thanks for tagging me, @aziz-writes! You’re a gem as always!

Note: I’m talkative, so most of my side comments are crossed out don’t mind me

First Look

1. Describe your novel in 1-2 sentences (elevator pitch)

After nearly failing the application test, a young girl rejected by a superpowered society for not having a superpower* of her own is accepted into Falks, a school that teaches kids how to be superheroes. But after an attack on the school nearly kills her and her classmates, she must learn to work with her new friends before one of her oldest friends is lost forever. 

(*’superpowers’ in this universe are called Gifts, and those who have them are called Gifted. The minority who don’t have Gifts are called Ungifted. The title is ironic and also a reference to a running joke Sofia has with herself)

2. How long do you plan for your novel to be? (Novella, single book, book series, etc.)

It’s the first book in a series! Right now I have four books, but since I’m a chronic overwriter, that may or may not have to be extended to five books.

3. What’s your novel’s aesthetic?

Honestly? Aesthetics aren’t really my thing, so I’m not sure. Maybe soft warm colors, that surprised flutter in your chest when someone gives you a thoughtful present, the ache after yet another workout, that scratchy feeling in your throat when your right on the edge of crying but no one else can tell? This started out as a lighthearted superhero story I swear-

4. What other stories inspire your novel?

If you’re an anime fan, you’ll probably look at the general premise of this and some of the basic details of some of the characters and go “Wait a second, that’s a lot like My Hero Academia” and listen. I know. It’s not the same plot though, I promise! Really, at this point, I’d like to think that it’s undergone so many changes that the two are pretty decently removed, but *shrugs*. I’m not as pressed about it anymore. 

I was also loosely inspired by Harry Potter, simply because my book also takes place throughout a school year, so I’m using Harry Potter as a frame of reference for pacing (theoretically). That being said, trans rights and fuck JK Rowling am I right?

5. Share 3+ images that give a feel for the novel

For the sake of saving space, I’ll not do that this go around. But imagine fireworks, a freshly brewed cup of tea, and an overwhelmingly expensive weight room and you’ve got a pretty good image of three important things in this book.

Main Characters

6. Who is your protagonist?

Sofia Smith! The Ungifted girl with a chip on her shoulder! Also an utter jock who usually wears athleisurewear and trust me, I’m as thrilled as you are about that. I don’t work out! I don’t even know what a healthy workout routine looks like! What have I done-

7. Who is their closest ally?

I’d say it’s a toss-up between Leona Kita, a girl she meets during the application tests who quickly becomes her new best friend and is not all that she seems, and Romilly Quirke, a teacher at Falks with whom she develops a close mentorship and is not all that she seems

8. Who is their enemy?

In the beginning, it’s Kyran ‘Kruze’ Cinege, Sofia’s childhood friend-turned-enemy. However, the turning point of the novel is when it’s revealed that while she and Kruze are always fighting (physically or not), there’s someone out there who’s actively trying to kill her and that person might be a more pressing threat than Kruze.

You may also see me occasionally mention The Prophet’s Daughter, who, like all of the important antagonists in this series, hilariously still doesn’t have an actual name. It’s fine. Everything’s fine.

9. What do they want more than anything?

To become the top Hero it’s not bnha you weeb

10. Why can’t they have it?

She’s Ungifted, so no one believes she can do it. Not only that, but also every single other person in her class at Falks is highly qualified - they’re the most promising kids in the country, after all - and also highly motivated to do the same, so she’s got... a lot of competition.

11. What do they wrongly believe about themselves?

That she can hold up the weight of the world on her own - worse, that she has to hold up the weight of the world on her own. Among other things

12. Draw your protagonist! (Or share a description)

Not an artist, but I can freely say that Sofia’s face claim is Amandla Stenberg (especially Hunger Games era Amandla Stenberg because, you know, high school).

Plot Points

13. What is the internal conflict?

She’s desperately lonely, but to admit she needs other people is to admit weakness, and to admit weakness is to admit defeat - something she absolutely cannot do. I mean, not really and it’s okay to ask for help, but she doesn’t know that. We’re working on it.

14. What is the external conflict?

Sofia is fighting the entire world to become a Hero and also someone is trying to kill her and her classmates. 

Oh and each book revolves around her relationship (platonic or otherwise) with one of what I call the ‘core five’ changing and developing in a radically game-changing way. In this book, it’s her and Kruze struggling to come to terms with elements of their past and maybe overcome their conflict to become friends again...? Except their both stubborn assholes and have been fighting for so long they can’t remember how to exist in the same room without one of them blowing up eventually (literally, in Kruze’s case) (I’ll probably talk more about the core five in a different post tbh)

15. What is the worst thing that could happen to your protagonist?

Oof. Well. If someone died on her watch, that’d be pretty bad for her. Good thing that’ll never happen though! Haha...ha...hm.

16. What secret will be revealed that changes the course of the story?

Of this story? Shit maybe they weren’t after me after all. The story as a whole? Wait, you’re my what?

17. Do you know how it ends?

I actually have the epilogue of the last book already planned out! I will cry when I actually write it. But the end of the main plotline? Eh... I know who all is involved, and what all of the characters have evolved into at that point. But how Sofia and co. actually defeat the BBEG? I am... less sure.

18. What is the theme?

In this book specifically: it’s okay to step back and ask for help when you’re struggling - just because you can’t do it on your own doesn’t mean you don’t deserve to be where you are.

In the overall series: something something found family something the power of friendship.

19. What is a recurring symbol?

Oh damn, this is a really good question. In fact, since I’m still in first draft mode (although I did write maybe a good quarter or so of a zero draft) I don’t think any have really emerged that I’ve noticed yet? But I guess I’ll come back and update this if I think of anything.

20. Where is the story set? (Share a description!)

It’s set in a very fancy, very modern private school that’s on the edge of a city somewhere near Washington D.C. I’m... not great at describing environments/settings, though, so that’s all you get haha

21. Do you have any images or scenes in your mind already?

Oh yeah, plenty. I have this whole book outlined, actually, on a chapter-by-chapter level! I got excited and also bored during my three-hour-interim between classes, and there was a whiteboard just asking to be filled... I even have some disconnected scenes from future books floating around in my mind - some incredibly emotional and poignant, some glorified shitposts. Ah, writing. It’s such a magnificent hobby.

22. What excited you about this story?

The characters! No joke, there are sixteen kids in the Falks class including Sofia, and every single one of them has their own complex backstories, motivations, and character arcs - not to mention I’ve spent a significant portion of time outlining each of their Gifts and figuring out how exactly they work. I could ramble about any of them for hours.

And that’s not even mentioning Sofia’s family, the villains, the teachers... I just really love every single character in this book!

23. Tell us about your usual writing method!

Step one: watch or read something. Anything. A movie, another book, a commercial, a music video, a tiktok, I’m not kidding just about anything will do. Step two: think ‘oh, I could do that better’. Step three: jot down some early lines or general ideas. Step four: leave it to stew for a little while as you think ‘oh jeez maybe I can’t do it as well as I thought’. Step five: get suddenly inspired on it and feverishly carve out several rough chapters. Step six: let it stew some more. Step seven: get newly inspired, realize how much has changed in your mind about that earlier draft, call that the zero draft, and actually do an outline this time. Step eight: ...Write it for realsies this time!

Whew, that was a doozie! Super fun though! So, according to the rules, you’re supposed to tag the same number of people as questions you answered. So there are 23 questions, and it turns out I’ve got exactly 23 people who (I don’t think) aren’t opposed to tag games, so here, have something besides a last line tag for once! Enjoy!

REMEMBER! You are under no obligation to do this - especially since this one can seem overwhelming. I’ll be thrilled if you do it, but I won’t be disappointed or upset if you pass.

Anyways, tagging: @alcego-writes, @alanwrites, @ajbrooks-writes, @evergrcen, @jewellsfrommaruss, @brookswriting, @signedjordan, @writhoelogy, @the-violet-writer, @dustylovelyrun, @linarious, @cookiecutterwrites, @honeyprincerising, @acaptainandhisrunaway, @angelolytle, @dogwrites, @mxxnwishes, @magicalwriting, @bisexual-in-progress, @writerfae, @ocmaker, @fullydevoted, @hanboggsbooks

[shadowsong26fic]

AU Outlines: Other Fandoms Edition

So I know that probably like zero of my followers on this blog even go here but I was watching Person of Interest lately, and I’ve also been reading occasional Supernatural spoilers, because I used to be in that fandom and I occasionally get curious. Especially this most recent season. Naturally, this woke up some old characters/situations/etc. that I used to work with, which I’ve been occasionally toying with in the back of my head when I’m bored and/or procrastinating other projects.

I’ve been going back and forth on how I feel about the one plotline that interests me this season (and by back and forth I mean I was really excited when I first read that a particular character was back; engaged by the summaries/etc. I read from his first couple episodes, the third one intrigued me until I read more detailed spoilers and then I started to side-eye it a little bit...)

And then I read up on last week’s episode. And nope, all my excitement is gone, replaced by Pissed for reasons I’m not sure I can actually articulate. (Though I kind of attempted to in the tags here on my personal blog.)

...honestly, I probably should’ve known better; making this kind of storyline really pay off/work would require a lot of attention given to a tertiary character, and given SPN’s track record with the internal worlds and motivations of characters who are not the Big Three, and the fact that they’ve been ignoring a lot of their established angel/vessel lore, the way Claire’s backstory more or less got completely forgotten...I should not have gotten my hopes up. Sigh.

ANYWAY this is now officially Spite Fic(tm). Here, have an outline of a Supernatural/Person of Interest crossover.

Starring Nick.

...uh, before I actually start, I should probably get some background out of the way.

For those of you who are unfamiliar, Person of Interest is a TV show that ran for five seasons, 2011 - 2016. Without c/ping the opening narration, the basic premise of the show is that, in the wake of 9/11, genius software engineer Harold Finch built a surveillance and analysis program, in an effort to prevent similar future tragedies. Out of fear that his creation would be abused, he designed the Machine as a closed system--basically, all that’s provided is an ID number (usually an SSN, at least for US citizens; but Our Heroes get a green card number in one episode, and a student ID number in another), and the person that number indicates is key to unravelling whatever is going down. The Machine was initially designed to predict mass casualty events/terrorism and provide the (relevant) number to the designated government operatives, at which point human intelligence takes over. However, the Machine also identifies things like…gang warfare/one-on-one premeditated murder (irrelevant numbers). That’s where Our Heroes come in.

The first half of the series is basically a procedural with a twist—each episode, the main characters get an irrelevant number (or more; the record was I believe 38 in one episode). They don’t always know how that person is involved, whether they’re the victim or the killer/perpetrator. In a few memorable cases, the number was arguably both.

Then, in the second half, a rival AI (Samaritan) is brought online, and the series becomes somewhat darker in tone and shifts into a cyberpunk apocalypse story. With a few regular irrelevant numbers thrown in on occasion as well, for good measure. For the purposes of this outline, we don’t care so much about POI B, for reasons I will explain, but it bears mentioning. Especially since Greer is still hanging around and trying to bring Samaritan or something similar online.

Right. On to some memorable/notable/important characters.

Our Heroes are Finch, who, as I said, designed and built the Machine. For various reasons, he’s living off the grid (he’s a very private person). Using a backdoor built into the Machine, as of when the series starts, he receives the irrelevant numbers. But he lacks the skills/ability to intervene directly, so he recruits John Reese.

Reese, then, is Finch’s partner/employee/they are totally married; a former CIA assassin who is now presumed dead, he does most of the hands-on work with the numbers and becomes known as the Man in the Suit who is basically Batman.

Carter! Carter is freaking amazeballs; she is p. much the moral/ethical center of the show, one of their two cop friends who was actually trying to track them/Reese down and arrest him for the vigilante BS for the first half-season or so but then they became friends.

Fusco is their other cop friend; former dirty cop/member of an ring, initially recruited by Reese to work undercover in HR (as said ring is called), basically runs on a combination of Dogged Loyalty (the reason he joined HR in the first place, transfers that loyalty to Team Machine, gets his moral compass recalibrated, and becomes one of the most loveable dudes on the show) and Snark (featuring such delightful quotes as “What was I supposed to say? Sorry, boss, Agent King is really a superpowered nutball. Just ask my buddy, the urban legend.” Also at least once a season, he makes a comment to the effect of “just when I thought you guys couldn’t get any weirder…”).

(Also, he is, as my roommate puts it, Shaped Like A Dad.)

Shaw joins the team in Season 3; textbook (and canonical!) bisexual compact Persian sociopath (note: she has some sort of Axis II personality disorder that is occasionally called sociopathy in-universe, but that doesn’t quite fit); there’s…there’s really not much else one can say without just like summarizing everything she does or quoting ad nauseum.

Root! Root is introduced as a major antagonist; hacker/programmer on Finch’s level who works as a contract killer, her initial goal is to locate and free the Machine, which ends up recruiting her early in Season 3 and becoming…you know that particular kind of reformed villain that becomes the weird family member because yes they’re still kind of awful and murdery, and they did a great deal of damage to you and yours, but you’ve now been through Some Stuff together, and besides, they’re your awful and murdery, you know? So not exactly a redemption arc, but they’re one of the Heroes now and just kind of stick with it. Like Barbossa, in POTC. Or Vegeta. My roommate (referenced above) calls this the Weird Uncle trope. And she fits this trope really well and I love it. Also, she and Shaw are canonically girlfriends as of...s4 or s5, depending on how you look at things.

(Also, not necessarily relevant for this outline, but on the subject of Weird Uncles, one cannot talk about POI without mentioning Elias; our friendly neighborhood Mafia don. No, really.)

And Bear! Cannot forget Bear. Bear is Finch and Reese’s dog, acquired at the beginning of S2 and the most amazing. He also has a twitter! In Dutch!

On to some antagonists, Greer is not our friend. He works for/created a company called Decima Technologies; his goal is to bring an unrestricted AI online and let it run the world for complicated reasons relating to some of his experiences during the Cold War working for MI6. Also he has a very punchable face.

And then there’s Control, who runs the Relevant numbers program for the government. She is an awful, awful human being (fully aware of it, too; she has a great speech in the third season finale about how she’s a Necessary Evil and why) and I love her so much.

Okay, that’s the basics for the POI side of things. I can go on a lot longer if y’all want more details (I didn’t even cover my girl Zoe or Leon or…), but that should be enough foundation for the outline to make sense?

For the SPN side of things--I’m not going to summarize the canon background, due to it being the larger/primary-ish fandom. But in terms of the relevant AU stuff, I’m going more or less with the backstory I established for Nick for The Promises of Angels and Cartography!verse.

Basically, he was a high school history teacher; his wife and son were murdered by a serial killer known as the Chesapeake Ripper

(There might well have been/probably was some demonic involvement, though not in the same way as I think S14 canon established; basically either because a “talent scout” demon like that one s7 episode was already involved or because the Ripper was operating independently and a demon got involved later, he was pointed towards this particular woman and baby who fit his victim pool. Either way, Nick was targeted because he was the right bloodline and accessible, because vessel lines are a thing even if the show has forgotten that.)

(Also, Lucifer later took Nick to kill the Ripper. Signing bonus. So to speak.)

After Detroit, Nick gets picked up by Meg, who holds on to him for a while for a variety of reasons (information that might be buried in his memories from the year he spent possessed; the chance that he might be a new key to the Cage…) until the Leviathan turn up, at which point she no longer has the resources to keep him. She cuts him loose at that point, rather than killing him (mostly because she thinks Lucifer left him alive For A Reason and until she knows what that is, she can’t kill him).

So, at this point, in Promises or Cartography, Nick just sort of wanders around for a while until he runs into Claire or Jody, respectively.

For the purposes of this AU, he ends up drifting to New York instead.

And, with all that background out of the way, NOW we can get to the actual fun stuff.

…no, wait, I lied. One more note: as with p. much all my SPN projects, I am following Logical Time rather than Show Time. Which is to say, when calculating dates/figuring out where the timelines intersect/etc., I’m including the two skipped years (between S5/S6 and between S7/S8).

(That being said, I reserve the right to stop caring about the timeline later and just mashing things together as I think it would be entertaining.)

ANYWAY.

We open in the first half of POI S3, somewhere between “Mors Praematura” and “Endgame” (i.e., Root is in the library, but Carter hasn’t initiated her takedown of HR yet). If my math is right, this puts us either in S7 or during the second gap year for SPN.

It starts as most of these adventures do; Team Machine gets a new number.

“This one may be a bit of a project, I’m afraid,” Finch says. “Nick Cross has been missing for several years. He hasn’t been seen since May of 2009, and there’s been no electronic activity on his identity in that time, either.”

Of course, when they dig into his background, his wife and son getting murdered comes up.

“Any chance he killed them?” Reese asks.

“No, he was cleared at the time. They were victims of a serial killer, and Mr. Cross had solid alibis for three of the five incidents, including the one involving his wife and son.”

(Shaw, at that point, theorizes that Nick’s number came up because he somehow tracked the Chesapeake Ripper down and is planning to kill him. And, if that’s the case, doesn’t really see the point in stopping him.)

(“Start with finding him, Ms. Shaw,” Finch says. “We still don’t know if that is, in fact, what’s going on.”)

(Finch also doesn’t approve on principle, of course, but that is not an argument he wants to have with Shaw on this particular morning.)

(Plus, the Ripper seems to have stopped operating at around the same time Mr. Cross disappeared...so there’s a chance that Shaw’s theory is accurate, just out of date.)

In any case, they reason that the Machine wouldn’t have handed them his number if he weren’t alive and in range; Reese and Shaw ask Carter and Fusco to see what they can pull up, and start doing their own legwork.

Carter ends up being the first to find a lead—while on her regular patrol with Laskey, she spots a guy who matches the description, albeit with a few extra scars, and is acting a little off. Like he thinks he’s being followed/watched.

Reese goes to check it out, and this is where things get, uh, Weird.

See, here’s the thing. I love John Reese, and he is a man of Many Skills.

But, uh.

Being approachable and reassuring is Not Among Them.

Like. Don’t get me wrong. When he’s in Bodyguard Mode, it is exactly the right level of Intimidating. He just…has trouble turning it off.

Look, the dude is a semi-retired CIA spysassin and it oozes out of every pore unless he works really hard to tone it down.

(And sometimes even then.)

And since this is just, like, preliminary surveillance to see if this guy Carter spotted really is their number, and he’s not planning to make contact yet, he’s not really focusing on toning it down.

So, when Nick spots him, guess what this looks like to him.

Yep, he thinks Reese is an angel.

He runs.

Reese: “....yeah, pretty sure that’s our number. And he just made me.”

(If Carter didn’t already, Reese probably also mentions that the five-year-old DMV photo they’re working from is out of date; Nick is pretty badly scarred, they look kind of like radiation burns.)

Of course, it was hard enough to find Nick in the first place, so Reese doesn’t want to lose him again. So, made or not, he continues following. Hoping to get to a position where he can make contact and figure out what’s going on. Or just keep tabs on him until Shaw can catch up and take over.

(Not his favorite approach, but he screwed up somewhere and that’s what he’s stuck with now.)

Nick knows the angel is still on him--and this is new and terrifying; he’s had demons after him a few times since Meg ditched him, but this is the first time an angel’s found him and, frankly, angels are worse than demons in his mind.

(Also he’s supposed to be warded how did the angel even find him--)

(Yeah, Nick has gotten a couple tattoos in his post-Meg life--he’s warded, the same sigils that are etched into Sam and Dean’s ribs; he also has a standard anti-demon-possession tattoo.)

In any case, he has a knife up his sleeve, he just needs to get somewhere more or less out of sight, just for a minute, maybe not even, and then he can throw up a banishing sigil. He just needs that minute.

Reese spots Nick duck out of sight into an alley and heads that way, picking up his pace. There’s a chance he’ll lose the number in there, depending on how many exits there are--

Nick casts his sigil and then books it, not wanting to stick around and see if it worked.

Reese gets there just a hair too late.

“I lost him,” he admits, then catches sight of the bloody drawing on the wall. “...but I think I might have an idea what our number’s running from. And why he disappeared for so long.”

“Yeah?” Shaw asks.

“Looks like he might’ve joined a cult."

“....really,” she said. “Huh.”

“He drew some sort of occult symbol on the wall. Looks like blood.”

“...okay, so he joined a cult.”

“It makes a certain amount of sense,” Finch says. “He went through a horrible tragedy. He could have been vulnerable, especially if he sought but failed to find any comfort in traditional religion.”

Reese takes a picture, and sends it to Finch. “Think you can figure out what this is?”

“Well, it’s hardly my area of expertise,” he says, “but I’ll see what I can do.”

“We’ll work on picking up his trail again,” Shaw says, appearing beside Reese in the alley, as she does sometimes. “Maybe stop by and pick up Bear to help.”

...and now skimming over the next few hours...

Finch spends some time in one of the few corners of the internet he’s not super familiar with, and does identify the symbol eventually.

“It’s for protection or warding. Specifically against angels.”

At which point Shaw busts up laughing at the idea of anyone thinking Reese is an angel.

But that does support the idea that he’s running from whatever cult he got mixed up in.

ANYWAY moving on.

Reese and Shaw eventually catch up with Nick again.

Unfortunately, so have the people who are after him.

(And by people, I mean demons. Two of them.)

(Who recognized Nick, obviously, and had the same ideas as Meg, with regard to his potential Uses.)

(Only they’d rather off him so no one gets to unlock whatever secrets he might be holding.)

Shaw goes up--she’s the better sniper, after all--and Reese makes his way into the alley where Nick is cornered

Firing, naturally, at their kneecaps.

Except.....

Nothing...nothing happens...?

(Well, except now the demon is pissed and gunning for Reese instead.)

(Nick is very relieved to see that this guy is not, in fact, an angel. Angels don’t normally use guns.)

(Of course, now he’s just confused, wtf is going on.)

“What the...” Reese says.

“Maybe you missed,” Shaw smirks, from her perch.

“I didn’t miss.”

“Sure,” she says, aiming at the demon chasing him, getting a solid hit in the shoulder.

Which....also does nothing.

“...well, that was weird.”

She fires again, this time a killshot--yeah, yeah, there are Rules, but under the circumstances...

Meanwhile, Demon #2 has gotten ahold of Nick. Who has frozen a little bit.

(He tends to do this, when stressed/triggered--internalize things, and just go blank. He was more or less catatonic when Meg found him, started gradually coming out of it; when Sam got his soul back that sort of accelerated the process and by now he’s mostly functional, but there are Moments...)

Shaw keeps firing at Demon #1. It’s not killing it, but it’s keeping it pinned down so hopefully Reese can reach and extract their number.

“Finch, we’ve got a Situation here.”

“Yes, I can see that.”

(Finch has hacked into some nearby security cameras.)

“You have any idea what the hell is going on?”

“I’m afraid not, Ms. Shaw,” he says. “It’s only the two of them, I think--no one else is coming though the police will probably be responding to the shots soon--”

“Yeah, Finch, I know. Reese?”

Nick is up against the wall and Reese bodily hauls the demon off of him to engage in a fistfight.

(Did not expect a skinny kid like the demon’s host to pack this much of a punch, he’ll have some fun bruises tomorrow...)

Which snaps Nick out of it.

Demons. These are demons. Only demons. I know how demons work. I can--

He rattles off an exorcism, as fast as he can.

The demons scream and smoke out, leaving their two dead hosts behind--Host #1 may have been dead already, or Shaw may have killed them; Host #2 was already gone.

“Finch?” Shaw says. “Finch, are you getting this?”

“I’m--yes, I see it,” he says.

Reese is about to add something, but the Nick passes out--Demon #2 managed to score a solid hit before Reese got there--and he moves to catch him.

“Damn it--he’s bleeding, pretty bad.”

“Get him to the safehouse,” Finch says. “I’ll meet you there, and we’ll...we’ll figure all this out.”

“Library’s closer,” Shaw points out. “And you said no one else was around.”

Finch hesitates for a moment--more concerned about Root than about their base being compromised, at the moment--then nods. “Fine. Bring him here. I’ll clear off a space for you to patch him up.”

“Copy that,” Shaw says. “Reese, stay with him, I’m gonna get us a car.”

...okay, I’ll admit, the rest of this first New York adventure isn’t super well planned out in my brain. So, skimming through it pretty quick...

They bring Nick back to the library. Shaw patches him up, while Finch goes over the footage he found, trying to figure out what the hell just happened.

Nick eventually wakes up. There’s a Talk.

“They were demons,” Nick explains. “They, uh. They can’t be killed, not with guns. There’s a couple specially-designed weapons, I think. And angel blades. Holy water will burn them, and you can use salt to keep them out. Best thing to do is probably trap them and exorcise them.”

Basically, Team Machine gets The Talk about monsters and so on Existing.

He admits to having been possessed for a year when they ask him why demons are chasing him, though he’s a little vague on further details. He does mention Meg, too, that she held on to him after he was dispossessed.

He asks how they found him--he’d thought his warding was messed up, especially when he thought Reese was an angel.

They give their characteristic vague answer, then ask, “If you’re...warded, how is it they found you in the first place?”

He figures, at this point, that his warding is fine--it doesn’t hide him from demons, necessarily, but even if it did, warding doesn’t stop the bad guys from spotting him by chance. Which is, incidentally, exactly what happened.

Nick also, of course, gets in the usual number questions; “who are you” “why are you helping me” etc., with the added weight of his possession and the fact that they took on literal demons to try and save his life.

Also, somewhere in this mess, Nick wanders off into the part of the library where Root is being held. Possibly while the rest of Team Machine is getting what they’ll need to deal with whatever Climactic Fight will end the episode/section.

(Nick was a high school history teacher, and this is a really awesome library, of course he’s going to go exploring if he’s left alone.)

(Bear is there to keep an eye on him/keep him from leaving.)

(Bear also gets many scritches and pets, as he deserves.)

Anyway, Root and Nick have a conversation; whether she and the Machine are already doing their Morse Code thing or something else is going on...or...something...anyway, Nick gets read in on the Machine’s existence.

(His reaction is more or less “...that does not even make the top ten most unbelievable/dangerous things I know exist, so...all right then.”)

Finch gets back to find them talking about history or something. Bear is next to Nick, who is a lot calmer/more willing to work with them than he was before. Root is just inside the cage wall, idly scritching Bear’s ears as they talk.

(This is actually Important.)

Anyway, eventually there is the requisite climactic fight. Possibly angels are involved--I know Shaw gets her hands on an angel blade at some point...

Point is, things get resolved, more or less. Nick ends up leaving New York.

BUT! Because Root had a Moment with him back there, and Finch saw it, he’s willing to unleash her a little earlier when the shit hits the fan a few episodes later.

In short, thanks to Root kind of sort of Bonding with one of their weirder/more fragile numbers, Team Machine is much better positioned to deal with Endgame nonsense, which means, first, that Carter gets to live (though Reese might still get hella shot, depending on how exactly Root changes what happens with Simmons; but he won’t go on his Roaring Rampage of Revenge); what follows is then that Team Machine is all working on the same page when Claypool’s number comes up aaaaaaand we avert Samaritan. Yay!

(Carter does still deduce the Machine’s existence, of course, gets upgraded to the yellow box and everything. And, remembering the late-S1 drama, strongly advocates for Fusco getting read in, too.)

(She gets her way on that, too. Eventually. Probably before too much longer, even.)

Also, Control does reveal herself, but doesn’t manage to capture Root just yet.

(Which also means Root doesn’t get her implant, at least for a while.)

But apart from that, we can leave this group to their own devices for a while, and get back to following Nick, who is now past his Origin Story, so to speak...

Hokay. So. After Nick leaves New York, he just starts sort of drifting again, and then a few days later, he gets a phone call.

Which he actually answers; in all honestly very few people would reach out to him this way, and he’s pretty sure none of the things that terrify him are on that list.

“Can. You. Hear. Me?”

Nick stares at the phone for a long moment. The Machine repeats herself.

“…no.” He hangs up.

(Look, he knows damn well what that phone call was; Root told him enough when the two of them talked in the library. And he is not interested in letting another near-omnipotent entity screw with his head. Once was enough. He learned his lesson.)

The Machine backs off, deciding to try a less-invasive way of trying to get in touch with/recruit him.

Why is she doing this? Well.

The Machine’s mandate/objective is to protect humanity. When Nick came up on her radar as an irrelevant number she could offer her assets, she noticed some…let’s call them anomalies. In archival data about him, about the two people talking about murdering him…lots of things didn’t add up. Which is why he got pushed to the top of the list, so to speak.

(I mean, assuming she does put a certain level of thought/deliberation into which numbers she sends her assets? If two come up at once that are unrelated, does she need to decide, or do they get both? This isn’t 100% clear in the show, I don’t think; pretty sure all the multi-number episodes do end up being related, even if they don’t appear that way at first, apart from, like, backlogs from when the Machine has to go dark temporarily for whatever reason…anyway, if that is the case, she picked Nick because there was a lot of Weird Shit going on around him and she needed her human assets to sort through it, because she simply didn’t have the tools or parameters necessary to work it out for herself.)

So, Nick’s number comes up, and even more strange things keep happening. The Machine evaluates, and comes to the conclusion that there’s an entire class of threats to humanity that she hasn’t been monitoring correctly. The fact of the matter is, she was programmed with certain blind spots, because Finch had certain blind spots.

But the Machine is now in a position to correct that. She’s aware of the flaw in her system and, thanks to the changes she’s been making since Stanton’s virus and the other S2 arc plot stuff allowed her to start altering her code in a way she couldn’t before…

She can make up for it by adding yet another set of numbers/another protocol. Relevant numbers to the government as always, irrelevant numbers (within their reach, at least) to Finch and his team, “necessary” numbers (i.e., protecting the Machine herself/keeping tabs on other, potentially hostile, ASIs) to Root, and now…we’ll call them “hidden” numbers.

Of course, the next problem is, while there’s a lot of data available about monsters, angels, demons, etc., it’s very hard to sort through what is useful data and what is, frankly, BS. And, unfortunately, she lacks the parameters to do it herself.

Ergo, she needs a human asset to help her figure it out. Teach her/help her define this new dataset.

(And also to intervene when necessary, but that can come later. She’s got a bit of a learning curve ahead of her first, and she knows it.)

But, of course, she doesn’t want to retask any of her current assets—both because they have enough to deal with and because, again, learning curve. Better for at least one entity involved to know what they’re doing, right?

And so, she decides to recruit Nick. Nick, who has already been her window into this hidden world. Nick, who needs her as much as she needs him.

(Kind of like Root, except absolutely unlike Root. Like in that they were both drowning when she approached them, and needed her to give them a framework to cling to, to drag themselves back to the surface; unlike in that Nick is drowning in a very different ocean than Root was.)

Anyway. Eventually, she does manage to talk to him, and explain what she wants.

And he’s still not...100% sure how he feels about working with her, but...well, data entry, right? He can do that. Maybe.

“I don’t know how much help I’ll be,” he admits. “Just because I was possessed for a year doesn’t mean I know everything.”

“It’s still a place to start,” she replies. “Eventually, I’ll figure out the patterns and be able to extrapolate.”

“...okay, then.”

(As it turns out, he knows a lot more than he thinks he does, which is utterly terrifying; he has a lot of subconscious/residual information buried in his mind.)

Of course, eventually, just data entry isn’t enough.

The Machine doesn’t have all the answers/all the patterns down, but she has enough that she’s starting to identify threats/numbers she can assign out.

But Nick...well, Nick is fragile. Mentally, of course, but physically as well--burned inside and out, metaphorically and literally, by a long, incompatible possession.

At the moment, though, he’s the only asset she has in this area. Recruiting others, from among the insular, paranoid hunter community...is going to be difficult.

She spots something she thinks he can handle, especially if she grants him God Mode access and keeps him there.

He stares down at the text message she sent him.

“...I can’t do this,” he says. “I can’t...”

“Can we please try?” she says. “I’ll help you.”

“...I...”

“It’s a demon, I think.”

He thinks about it for a minute. He can handle demons, he thinks. He has before, after all. He understands demons. And...

(he thinks about the feeling of evil still living under his skin; he thinks of blood on his hands and in his heart; about all the nightmares and half-memories; about how he feels too small for his own body, how his thoughts echo inside his head...)

(he wants to do better. he wants to be better. maybe helping...people like him, people who have gone through what he went through...maybe that’s a start. to make up for what he did.)

“...is the host still alive? When I...if I manage to get there and exorcise them...are they still alive?”

“I can’t tell,” she admits. “I’m sorry.”

“I’ll...try,” he says. “I’ll try.”

It ends up, fortunately, being a win for all of them--the demon is thrown enough by seeing Lucifer’s former vessel that Nick has a chance to act; the host is in fact still alive.

Nick spends hours after the exorcism, just...sitting with him, talking. Helping him cope/process things.

“...we should do that again sometime,” he finally tells the Machine, after he goes back to wherever he’s sleeping these days.

So, he starts kind of sort of hunting after that, with the help of an ASI.

Every time he directly engages something, he’s in God Mode. He has to be, because of the aforementioned damage; he wouldn’t survive on his own.

(Probably, at some point, he and the Machine put together something like the Tenebamus Infinitum forum in The Promises of Angels; online support group/community for possession survivors.)

(Sam may or may not find his way there...)

At first, they mostly focus on demons/possession cases. Sometimes ghosts. But they slowly start to branch out into other areas.

They deal with some miscellaneous monsters, faeries, maybe a vampire...good times.

Pretty much the only ones they avoid are angels and pagan gods, because Nick cannot deal.

(Angels for uh obvious reasons; pagan gods because he remembers like two things from his possession with any clarity, and one of them is Muncie, Indiana/Gabriel’s death.)

(The Machine occasionally considers trying to get him into a hospital for a while, the way Root was--she thinks it would help him--but he’s...managing for the moment, so it’s not as necessary, and she does still need him actively working....plus, he’s terrified of being sedated so...this gets put on indefinite hold.)

During this period, though, they do acquire two more Friends.

First--and I’m not 100% sure how they meet; possibly similar to how Nick and Jody meet in Cartography!verse, i.e., a grief support group of some kind.

Anyway, first he meets a young woman, a psychiatrist. Who is familiar, if peripherally, with angel and demon type stuff.

(Other monsters are gonna be a little New to her.)

Her name is Ashley Finnerman.

(Yes, as in Donnie.)

(He was her cousin.)

(After what happened to him, she started trying to figure it out, and eventually did.)

(...honestly, the forum may be her idea. She definitely joins it, not as a fellow survivor, but as a crisis counselor/trained professional who will believe them.)

(Ashley is pretty big on community building in general; yes, she’s a therapist and that’s a start, but she’s only one person. In her ideal world, they’d be able to draw in other professionals--psychiatric because this is an underserved population that desperately needs those resources; medical (as in physical medical/other MDs); legal...anyway, she’s not 100% sure how to go about doing that, but helping out on with Tenebamus is a step in the right direction, in her opinion.)

Ashley is eventually read in on the Machine as well. She has more or less an actual Life outside of it all, so she isn’t as immersed as Nick is, but she’s still definitely part of his team.

And second...somehow, they acquire Adam.

How? ...again, not 100% sure, but probably one of two ways--

One, something similar to Promises, where Nick gets too close to the Cage mouth for some reason and is offered a Bribe. He takes the bribe, with exactly zero intention of following through on his end of the bargain, so to speak.

Two, some kind of straight-up Fairy Tale Bullshit. S6 establishes that faeries can reach the Cage; Nick somewhat accidentally does a favor for a powerful faerie through his work with the Machine, and to repay the debt, the faerie (or possibly a High Up Faerie who has taken ownership of the debt because he helped someone in their court/their child/something or other) restores his Counterpart to him? IDK, something like that.

...I think I like this option. He accidentally does a favor for, IDK, Mab. And she, not wanting to be in his debt, heads down to the Cage.

This works because, a) Mab is probably one of the few entities that can go toe-to-toe with an Archangel like this; and b) Michael is actually on board with springing Adam.

(Not necessarily because he gives a shit about Adam, but he does give a shit about Justice, and keeping Adam down here, especially with Sam gone, is not Justice.)

Naturally, she doesn’t tell Nick ahead of time--he did the favor without consulting her, she shall repay him in kind. Faeries and Obligations, man.

Anyway, Adam joins them, and then Nick doesn’t have to be quite as hands-on because Adam is perfectly capable.

(Adam also, at some point, makes a comment about the three of them having ‘nearly a complete set.’)

(I have no idea how/if they’ll ever be able to find someone to fit in for Gabriel, but three out of four!)

(Nick finds this oddly hilarious, for reasons he can’t quite articulate.)

So, that is what Nick is doing while Team Machine is foiling Vigilance and Greer and Decima and dealing with their Hard Sci Fi end of things.

Let’s bring these two worlds crashing back together, shall we?

(Well, I say crashing together...this probably isn’t the first time Nick has run into the others since that first adventure.)

(If nothing else, he’s stayed in touch, off and on, with Root.)

(And I’m pretty sure the others have met Adam.)

(Maybe that was where Shaw got her angel blade...)

So, timeline for this. Uh...probably at least a year after Nick’s first encounter with Team Machine. For the SPN side of things...ehhhhh I’ll handwave/stop caring and say this is sometime in the latter half of S8. Between the first two Trials. Let’s go with that.

Nick and co are back in New York, probably dealing with something on their end of things. A ghost or something.

And then they get sucked into some Team Machine nonsense.

Control still wants the Machine--or a suitable Plan B--back under her complete, well, control.

Decima is going after some other potential ASI.

(Root is back in town to deal with them.)

Vigilance is involved too, because why not.

(Greer can’t initiate his endgame there just yet, after all, so they’re probably still operating.)

Nick, Adam, and Ashley are pitching in, because they’re here and the Machine needs all the help she can get on this one. Because Reasons.

Meg gets involved--this goes AU in that she escaped Crowley somehow. And one of the first things she does is try to check on her various assets, so she’s trying to track Nick and figure out what the hell is going on with him.

Crowley, of course, is chasing her, trying to get her back.

And, to round it all off, Sam and Dean are chasing him.

(As they approach, Sam starts noticing a weird buzzing feeling in the back of his head. Like circulation returning, or something like that. He decides not to mention it--thinks it might be a new Trials symptom, and he’s already hiding those from Dean, what’s one more secret? Besides, they need to know what Crowley finds so interesting about this place...that’s way more important, right?)

So, all these disparate parties converge on wherever the potential ASI is being held/built.

Root and Nick, of course, are both in God Mode.

(...incidentally, Nick is...nnnnnnnnnot super comfortable with calling it that? He and Adam and Ashley mostly just call it access or full-access.)

(Nick has the same tingling feeling in the back of his head, but he can’t do anything about it right now. He just focuses on the task at hand, and getting himself and his friends through this alive.)

The Machine tips Nick off to the fact that there are demons sniffing around--a couple of Crowley’s minions. Which, of course, Nick and his team can handle, but there’s several of them around and we reeeeally don’t want Crowley getting access to an ASI.

(Especially not S8!Crowley.)

So, Nick, Adam, and Ashley head off to put up wards and shoo off any demons they can, leaving the others to deal with the Decima nonsense/destroy the drives or whatever.

There’s a lot of ground to cover, so they split up.

Eventually, Nick gets pinned down by Decima mooks, trapped in a corner of the facility where he’s trying to finish getting the wards up.

“What...what do I do now?” he asks the Machine.

She runs her simulations, and it doesn’t look good.

And here is where it’s different from, say, “If-Then-Else.” Slash another way Root and Nick are very different people/assets.

Whereas Root is perfectly okay with obeying orders from her God without question, Nick needs to be told his options and make the choice himself.

At some point, he describes Access as oddly comforting. It’s almost as overwhelming, almost as much of a surrender, as consenting to possession is.

But there’s one critical difference.

He doesn’t have to listen to her.

He can say no.

He can hang up.

I mean, it’s generally speaking a bad idea to do that, but the option is still available.

So, his head doesn’t feel as empty with her in it, but a lot of it is still on his terms.

That being said, when there’s no time, or it’s a very immediate “there’s someone behind you” type of God Mode moment, of course, that’s less of an issue.

But something like this, where there’s a fork in the road?

If there’s time, she’ll lay out two or three of the least bad options and let him decide.

“If you go out the door and turn left, you will run into Control. She will figure out you’re tied to me, and she will take you prisoner. She will almost certainly torture you, to get you to give me up. Adam and Ashley will meet up with my other assets, and they will rescue you, but the chances of their success are very slim. There is a five percent chance, at best, that you will survive. It varies, depending on how quickly the others can mobilize.”

“Okay,” he says, and swallows. “And...and Adam and Ashley, will they...?”

“They have better than even odds of surviving.”

“Okay,” he says again. “What else?”

“Turn right,” she says. “You’ll run into the demon who held you captive.”

“Meg?”

“Yes.”

That’s not so bad, he thinks. Meg didn’t torture him too much, and she wanted him kept alive.

“Control will capture Root instead,” she continues. “Sameen and the others will attempt to rescue her. Adam and Ashley will pursue you.”

Control capturing Root, on the other hand, seems like a very bad thing. Still...

“Adam and Ashley?”

“About the same,” she says. “But there is another concern.”

“Okay.”

“If Meg takes you, there’s a chance she’ll find me. And if she does, it’s extremely likely that someone less friendly will, as well. There is also an approximately 17% chance that you’ll wind up in Crowley’s hands instead of Meg’s. And his chances of finding me are a lot stronger.”

Yeah, no. That cannot happen.

“Are there any other options?” he asks.

She pauses for a split second. “Turn right,” she says. “Then at the first hallway, turn left instead of going straight. I’ll have to leave you then--there are several Decima soldiers, but if you manage to get past them on your own, you’ll find Sam and Dean Winchester.”

It hits him like a punch to the gut.

“Your chances of reaching them without my help are better than your chances of surviving Control,” the Machine continues, “but not by much. If you can get there, though, they most likely won’t harm you.”

Unless I’m in full-access mode, Nick thinks, and shivers a little.

“And I can say with approximately 97% certainty that, when Adam and Ashley find you, they won’t harm them, either. I cannot say the same for the demons or Control.”

“They won’t hurt us physically,” Nick finally manages to say. “But I can’t...I-I-I don’t know how I’ll...I can’t shut down, not in here. A-and I don’t know how Sam will react to seeing me, I’ll probably seriously fuck with his head a-and I can’t...I can’t...”

(there’s this running refrain in his head, that Sam Winchester is perfect, and that Nick is the reason that everything goes wrong.)

(the Machine regrets even more not getting Nick more help.)

He takes a shaky breath. “Plus, I don’t know if Adam’s ready for that yet,” he says. “He hasn’t...uh, he hasn’t said anything about wanting to track them down.”

“That’s true.”

He’s quiet for another minute.

“Nick?”

“...I’ll take my chances with Control,” he says.

“I understand,” she says. “Thank you. And I’m sorry.”

(It’s not what she would have advised him to do, necessarily--she would have advised him to try for Sam and Dean; it balances protecting her with protecting the majority of her assets.)

“Directions?” he says.

“Open the door and turn left.”

She guides him down the hallway, advises him where to dodge, where to strike. He picks up a gun at one point--

(he’s hesitant, and she reminds him “you’re in Control’s world now, you have to play by her rules.”)

He gets to the inevitable trap, where ISA corners him and Control is there.

She recognizes, pretty quickly, that he’s in God Mode.

“...now just who the hell are you?”

On the other side of the facility, Ashley’s phone rings.

“Can. You. Hear. Me?”

The Machine also advises Root that Nick has been captured.

She and Finch have finished neutralizing the potential ASI drives; Reese and Shaw are with them; Carter and Fusco are currently working on securing their exit route, after driving off a handful of Vigilance mooks.

“We need to move,” Root says. “Control has Nick. Adam and Ashley will meet us.”

Reese nods once. “Lionel, Joss, get ready. We’re headed your way.”

“Copy that,” Carter says. “Fusco--”

“On it.”

Meg has realized that Crowley is here, so she’s now in the process of finding her own exit. He’s in pursuit.

Sam and Dean got all turned around and manage to get to just the right hallway at just the right time to see Adam and Ashley piling onto an elevator.

“...Dean,” Sam says. “Dean, tell me you’re seeing what I’m seeing.”

(he doesn’t press his hand. he hasn’t hallucinated in almost two years, he doesn’t need to--)

“Adam?” Dean calls.

Adam half turns to them, hesitates for half a second, then follows Ashley into the elevator and the door slides shut.

...and I’ll admit I don’t have a whole lot planned out beyond that. Also this is getting, like, super long. So, quick wrapup, so to speak.

So, Team Machine, plus Adam and Ashley go to rescue Nick.

Sam and Dean track them down.

Adam goes to talk to them, try and get them to back off.

“I have to go rescue my friend,” he says. “But once I’m done with that, we can talk. I promise. We’ll set up a meeting and I’ll tell you...as much as I remember, I guess. But right now, I have to go rescue my friend. Kind of on a clock here.”

“We’ll help,” Sam offers.

“This isn’t really your kind of thing,” Adam says. “This isn’t monsters, this is the ISA.”

“The what now?” Dean asks.

“Like the CIA, but on steroids.”

“...how the hell did you get involved in CIA bullshit?” Dean asks.

“It’s kind of a long story,” Adam says. “Which I will tell you, once my friend is safe. So can you please just...let me do this first?”

“How did...” Sam asks. “How did you get out?”

“Also a long story,” Adam says. “But I’m the only one who came out, I swear. And...” He hesitates. “They...mostly left me alone, after you were gone. If you were worried about that.”

(Sam hadn’t been, mostly because he had been Very Firmly Not Thinking About Adam for a while now, but he’s relieved to hear it.)

Reese steps out. Possibly holding his grenade launcher. “Come on, Adam, we gotta go.”

“Coming,” Adam says, then turns back to Sam and Dean. “I will call you as soon as we’re clear. I promise. Don’t follow us, okay?”

Without waiting for an answer, he follows Reese and they go to rescue Nick.

(Obviously, S&D don’t listen and do, in fact, follow Adam, but I’m not 100% sure where that would go.)

(Other than they do, in fact, manage to extract Nick alive, but it’s a near thing.)

(The fun thing here is, Control actually can’t break Nick. Well, she can’t get him to tell her anything about the Machine, anyway.)

(Yes, everyone has their breaking point so far as pain/torture goes, and Nick is no exception.)

(But he will physically break--i.e., die--before he mentally breaks.)

(And while psychological torture would be a lot more effective, she doesn’t know what buttons to push.)

(When she runs his prints/whatever, she gets the name Jacob White, which is an identity that Finch put together for him, for when he needed to interact with the real world. Since his own identity is...complicated.)

(Yes, that is a reference.)

(I couldn’t resist.)

(Also, the Machine, through Root, gets to deliver her verbal bitchslap to Control at last.)

Uh....yeah. That’s all the actual Plot I have at this point. But some other notes!

My girl Zoe is totally in the know. She may or may not have encountered Bela at some point, or found out some other way, but she does know.

(She never told Harold and John because--well, honestly, why would she? Her stock in trade is secrets, after all. And it never came up, and she wasn’t involved with Nick’s first adventure.)

Elias will turn up at some point. And basically become something like John Marcone, if any of y’all are familiar with the Dresden Files.

Bear’s Plot Armor may be some kind of magic, and I would not be surprised if he could take on a Hellhound and win.

Carter and Jody. Just...just Carter and Jody, man.

Like I said, Shaw gets her hands on an angel blade at some point. She and Dean probably bond. I feel like they would bond.

Also, I think Dean gets put into God Mode at some point. Possibly as his first real introduction to the Machine.

Like...IDK, he and Sam are with Nick for some reason, Nick, as implied above, cannot go into God Mode in front of the two of them, and honestly Sam going into God Mode in front of him would also be pretty devastating, so...Dean’s phone gets to ring!

“Can. You. Hear. Me?”

“...the fuck?”

“Can. You. Hear. Me?”

“Yes, I can--what the fuck is--”

“Two. O’clock.”

::turns and OHSHIT just in time::

IDK the idea just entertains me.

...yep, I think that’s it.

If you’re still here, thank you for putting up with my nonsense/checking this out.

Tune in next time, for an actual serious AU outline of some kind.

(....who am I kidding, these things are never serious XD)

[hiphop260-blog]

Atlanta in the Armchair: Psychoanalyzing Donald Glover’s New Show

Maurice Inoni 4.19.17

I am posted up post-breakup in my living room.  My afro is the end-of-the-week mess that has now become the default-- the itchy, frizzy default-- and my regalia is now the end-of-the-day hoodie and basketball shorts I just now realized I’ve been wearing for two days.  I had missed the past day or-so of classes; unable to get out of bed after a particularly unforgiving week mixed with a lack of sleep left me with exhaustion, and now at the end of a day of bed-rest and soup, I am laying by the TV.  

I present this information for you to imagine-- in a way similar to Atlanta, I am not explicitly telling you anything about my subconscious or inner state, not of my thoughts or feelings, or even what I meant by telling you this (very personal) information.  An important concept of Freudian and Jungian psychoanalysis is that we don’t need to rely on explicit psychic expression to decipher the workings of an individual’s unconscious.  Jung posits that film serves as a sort of societal dream (dream = subconscious) while Freud says that the truths influencing individual’s conscious everyday life derive their meaning from feelings buried in the unconscious. Between these two ideas we have the basis of psychoanalytical media analysis-- that is to say we can access societal truths through film, and many of the brightest filmmakers and creators seek to lead their audiences into doing just this and coming away with awakened realizations of how things we’ve internalised into our subconscious effect us and our society.

My roommate, Mars, and I have been treating Donald Glover’s Atlanta like a weekly ritual.  Every week for the first half of the season, leaving the television tuned to the FX channel while we shuffle around the room; finishing homework and scrambling together dinner before our show starts and we drop everything, save for some beers, and take to the couch.  The show has undoubtedly brought us together as roommates, two young men of color: Mars, a well-dressed, well-adjusted student athlete and business major, and Me, an occasional artist and full-time manic-depressive time bomb.  Well, to be fair, like Mars, I have other things going for me as well, but I think that it’s pertinent to note that I do deal with depression and it intermittently forces itself to the front seat in my life, and this particular week-- the end of Atlanta’s first season, where I was catching up on the final few episodes-- I was having an especially difficult time.  This was when it struck me.  Besides the show being an extraordinarily relatable and often funny slice of life show depicting the trials of Black millennial life, it is also a very real and often sad slice of allegory depicting the trials of being a Black millennial with depression.

Donald Glover’s character, Earn-- a situational stick-in-the-mud-- isn’t exactly the most likeable character, but he is not one you can exactly hate either;  and I feel like I can relate to him the moment he first comes on screen, unshaven, wearing baggy jeans, sporting short and messy dreads.  All these little details that allude to, but never explain Earn’s character, are peppered into the show’s story, which is uniquely scant on exposition.  

Much like a lot of the current filmed works loved by my fellow Black millennials, my favorite aspect of the show lies in the representation.  White people are reduced from the complex individuals they are usually portrayed as on television to almost a fraction of a character-- that is, reduced to the few White traits or tropes that Glover means to symbolise with each character.  All these token White characters and their interactions with Earn help him traverse throughout the world of Atlanta, bringing his career and its related plotline forward in exchange for dealing with their various microaggressions which manage to be both innocently inadvertent and brutally troubling.  The show manages to pull off probably some of the best depictions of liberal racism i've seen on TV, taking uncomfortable racialized encounters with white characters and portraying them in exceedingly bizarre scenarios (think: Get Out lite) such as: his experiences with the Black-fetishizing White husband of a character, the artist manager who mistakes him for another Black guy and thinks she’s known him forever, and the Princeton Grad turned rude radio DJ that he knew from his University days.  But this isn't to say that these depictions form a completely unrelated narrative.  Glover’s depiction of Whites and their effect on Earn seems to be part of a deeper running commentary about their effect on his psyche and mental health as a Black man in a White run society, (specifically the effect of liberal racism which, by virtue of not operating physically or overtly, acts completely in the subconscious).  In fact, the only cracks in Earn’s usually stoic and untroubled exterior, (which is also the closest thing to a stereotypically Black character trope this show offers-- for the purpose of highlighting this very effect) come in “Juneteenth” where a classist remark and its underlying racist sentiment drives Earn into a frenzy where he goes off on the two characters who say it (the white husband and his black wife).  This lends itself to what Glover seems to be saying-- that this form of microaggression is mental violence that can accumulate and then come to a visible boiling point within the Black psyche.

Everything in Atlanta is offset by the cinematography of director Hiro Murai-- realizing the other aspects of Glover’s vision not in the script and writing-- painting the world he wants to share with us; and that world as it happens, is extremely depressing.  The color schemes of the show lie in muted warm colors that, while visually beautiful, never warrant any description as (what I’d call) bright, uplifting, or fun.  Its an effect similar to seeing every part of the world through a low contrast Instagram filter.  The result is one that, optically at least, is overwhelmingly melancholic.  Breaking down the visual language episode-by-episode we can gather a more substantive proof that this is the intended effect.  For example, there are two episodes that break away from the show’s main storyline following Earn-- that is to say that he is omitted from two episodes that don't feature his perspective-- one is “Value” which is from the perspective of his girlfriend Van, the other is “B.A.N.” which is a sketch episode with no particular character narrative focus.  Both of these episodes are important because they show that the world of Atlanta-- the real objective one, as opposed to the one Earn sees-- is funnier, more vibrant, and more full of connection.  The Atlanta we experience through Earn shows us similar things but in that context they are all disconcerting, random, and dark (nutella guy anyone?).  In addition, both of these episodes are directed by Glover instead of Murai which is another important indicator that the lens attached to Earn’s perspective is completely intentional.

In fact the visuals alone are weird for any scripted TV show, each shot is very cinematic-- feeling like an extension of Glover and Murai’s last collaboration- Clapping For the Wrong Reasons, a short film following a low-key day in the life of a young rapper based off Glover’s real life rap persona, Childish Gambino, as he meanders through his manor trying to locate an elusive houseguest.  An important connection to make as the film and Atlanta are tonally similar, and fans of Glover’s prolific and genre spanning career know that he has been somewhat candid about his struggles with depression, at least in his art-- usually deferring to his musical projects, to tease out the personal struggles of his depression through the narrative arcs of his albums that he entrusts his most attentive fans to decode.

In Atlanta there are also coded allusions to Glover’s depression, starting with something as fundamental as the rhythm or pacing of the show.  Earn’s day to day struggles to get a step ahead, not for his own betterment, but for his daughter, never lead to any satisfaction for the character who often finds himself right back in similar situations depending on the episode.  However that is the basic premise for a lot of modern TV shows, the difference in its application in Atlanta is that since the show only meanders through its plot the pitfalls of not being directly successful in a venture are felt while the successes are only experienced briefly.  Take the amount of effort that went in to Earn trying to get Paper Boi’s appearance fee from the nightclub owner as an example.  Earn spends the whole episode trying to do this one task, that grows more and more out of reach as he becomes drunk (!) when he finally corners his target, he gets played and turned out of the club with barely any of the promised money,  in the last few minutes of the episode, Paper Boi goes back into the club himself and accomplishes the task of getting the money within moments.  However this just serves as contrast to show how difficult it is to function with high anxiety and depression which are portrayed in the episode as pacing, intoxication (alcohol = depressant), and the mania of Earn’s environment, which he has no control over, but overwhelms him far more than his peers.  Earn’s experienced highs in the show (his supposedly enjoyable nights of debauchery etc.) are always fleeting, as his personal enjoyment is only ever hinted at through flashbacks or through the perception of others.  His positive moments, being with his girlfriend, hanging out with his friends, always seem to be underlined by a sense of dread shown by Earn’s own discomfort and on-edge manner despite the situational peace of his surroundings.

The lack of familial support for Earn is also worthy of a place in the discourse.  What is-- on the surface-- easily written off as a simple expository plot device to explain Earn’s need for self-reliance, quickly finds its place in our narrative as an allegory for the Black community’s rejection of depression as a serious issue.  The painting of the condition as “not a real problem” and stigmatizing of it has lead to many unexplained deaths and hardships, (the most publically available example being the suicide of Pro Era rapper Capital Steez).  Earn’s parents cutting off their support of him serves as direct reference to this lack of understanding of mental issues, because to them, it seems like all of Earn’s shortcomings must stem from a fixable character flaw.

The season finale (spoiler alert!) reveals that Earn has been essentially homeless the whole show, living inside of a storage container.  Suddenly everything makes sense, such as his worrying,  his transience,  and living with his Girlfriend.  This revelation tethers all the clues and signals of the season thus far into one big explicit scene which serves as Earn’s “coming out moment”-- an allegorical aside to the audience-- of him realising or revealing his struggle with depression.  The setup to this being him leaving his girlfriend's house in order to sleep alone outside.  Those living with forms of depression often try to consider those in our lives who try to connect with us by distancing themselves, often missing that what to them seems like a positive sacrifice has an opposite effect on the recipient.  This moment from the final moments of the last episode may be the most textbook apparent indicator of depression, notably the inability of Earn to ever fully connect with those around him.  While he gains the trust of those who become his closest circle, (his girlfriend, his cousin Paper Boi who he also manages, and their friend Darius) he seems to never fully be one of them.  That is because this is the depression-skewed reality that Earn is living, not because they choose to remain distant to him, but rather because of his own personal isolation.  Personally speaking the reality of what causes this cyclical loneliness is one of the most heartbreaking things about both life with this condition and Atlanta itself.

(Shabazz #2)