ʟᴄᴅʀ Jane "ᴵ ˢʰᵒᵘˡᵈ ᵍᵒ" Shepard (
squadgoals) wrote in
thisavrou_log2018-01-14 09:51 pm
POCKETS FULL OF STONES
Who: Commander Shepard (
squadgoals) && OTA!
When: January 10th~
Where: Medbay (cryopods), around Avagi, Allcoran.
What: Shepard wakes up, and gets back to business.
Warnings: CW: WOKE UP ON THE WRONG SIDE OF THE CRYOPOD
1. TO WHERE THE WATER WAS [JAN 10, VERY LATE]
2. THAT'S WHAT THE WATER GAVE ME [JAN 11~UNTIL THE DAMN WATER AND DINOS ARE GONE]
3. THE WORLD'S A BEAST OF BURDEN [JAN 14~ONWARD]
4. YOU'VE BEEN HOLDING UP A LONG TIME
5. TIME GOES QUICKER BETWEEN THE TWO OF US
WILD: WOULD YOU HAVE IT ANY OTHER WAY?
When: January 10th~
Where: Medbay (cryopods), around Avagi, Allcoran.
What: Shepard wakes up, and gets back to business.
Warnings: CW: WOKE UP ON THE WRONG SIDE OF THE CRYOPOD
1. TO WHERE THE WATER WAS [JAN 10, VERY LATE]
[The place I like best in this world...
...like a real velociraptor. Wouldn't that be cool?
But I'm sure we'll find somewhere...
...a seminal work in Western literature or some shit.
So why are you really here?
Count: faulty.
I never read a lot, so...
What kind of stories did you peg me as being interested in?
It swirls through, heard and unheard, a tangled mess of muted noise, far, far away, moving like a tar drip, glacial in its transmission. None of it makes sense—like a radio transmission heard through someone else's wall, phrases caught and confused, words mangled in the levels, then frozen in time.
Then she's awake.
It's cold. Stupidly, absolutely stupidly cold. It's an awareness—but not a feeling. Her whole body moves sluggishly, fingers unfeeling as she pushes, shoves the glass and metal of her cryopod forward—then pauses, panting slightly at the effort, angry in spite of herself. Stupid. This damn stupid thing. Again. The emotion pushes her out, forward-- until the unit's lid begins to move, bit by bit, propelled by sheer determined ire.
Moments later, she's scrabbling out, frost dripping off her hair, clothing uncomfortably crisp with damp. Leaning back against the pod, her eyes start to refocus, cybernetics slowly warming up to the idea of 'living' again.
In fact, it looks as if someone—or multiple someones—had been living here. There's objects, here and there, fallen to the floor, and she pulls whatever is within range to her, using only two fingers to minimize on drippage.
A carefully dried flower crown. Crumbs, which—on closer inspection—represent the remains of a nutrition block. A crumpled piece of paper, either a napkin or a blank note. A hand-drawn, butterfly-bedecked get-well-soon card. A single nut.
It's a bemusing collection. Shuffling them into a pile, she uses the blank napkin-note to pick up the rest of the objects, taking care not to dampen any of it.
It's only when she finally stands up that she notices the rest of the cryopod—covered in creative art pieces, applied liberally in posted notepaper format and directly to the pod itself. Despite herself, she can't help but laugh—a single, almost bark-like noise of amusement, muscles warming up towards a half-smile.]
2. THAT'S WHAT THE WATER GAVE ME [JAN 11~UNTIL THE DAMN WATER AND DINOS ARE GONE]
[Flooding. Of course it was. Why wouldn't it be flooding on a space station?
It's scant hours later, and Shepard, equipped with the short version, is up-to-date. As much as she needs to be, at least, before springing into action—and spring she does. She can be found at various locations around the station, ready to help at anyone's beck and call.
Content that her own apartment is well-insulated from the risen wet, several productive hours are spent alternatively finishing with the bailing, and re-sandbagging other people's homes.
Later, you may find her diving (breathing apparatus and all) to the bottom of things at the source of the burst pipe itself: Sector Sanitation. She's dived, as it were, for worse.
Finally, she can be spotted in the station's various halls: gun out, wading patiently through chest-deep water that hasn't drained back yet, shooting all manner of land, sea, and airborne miniature dinosaurs through their tiny skulls with something approaching pin-point accuracy—even through the curving trajectory of water. Very humane, really.]
3. THE WORLD'S A BEAST OF BURDEN [JAN 14~ONWARD]
[It's a few days before Shepard ventures near the coalescing portals, preferring to get her (and Avagi's) affairs in order before sallying forth. After a check-in on class (suspended, temporarily), a follow-up on emergency protocols, a walk-through of most areas to see how much had changed with time away (and water damage), plus a few hot showers and a load of laundry, her schedule opens for a day of off-worlding.
Or more. Who, after all, can resist a sidequest?
Dumped unceremoniously on the outskirts of "Town", Shepard starts with her usual:hacking people's safes and taking all their moneybreaking into their houses and having a normal conversation with the inhabitants like she didn't just do thatrifling around in boxes and containers and taking everything she finds insideexploring the area top to bottom—but it's not long before she'ssorting people's entire life out for themeavesdropping on people's conversations and bringing them exactly what they wanted by taking it from someone else, they probably didn't need itwasting a lot of time avoiding the main plot how have the reapers not attacked by nowhelping out whoever might need it, no matter how large or small the task may be.
There's a small trophy in her pocket, unimpressive, but notable. Etched into the side of it reads "SET TO DEFROST".]
4. YOU'VE BEEN HOLDING UP A LONG TIME
[The town had its charms; the people, less so. There were only so many times you could talk about the same thing before you felt like you were going in circles.
So she'd set out, exploring the wilds. It was fun, interesting—and weird. But there was a certain rhythm to the whole place, something that, inevitably, worked. And she was getting good.
Until now. A chasm stretched in front of her, and every minute or so, a platform zipped out of it, rising to great heights. The objective was clear enough: jump on to one of them, jump across the chasm. Easy.
Or it would have been. At a sprint, she leapt for the risen form, made the jump, went to make the next—only to discover her foot had passed right through the platform, dug in to its previously solid candy-striped mass. As she struggled to release her improbably-trapped limb, the platform continued its merry rise into the sky—or, at least, rising as high as the sky was, then pretending it was still rising. No other platforms appeared—nor did anything else.
So she was stuck, as it were, in an elevator.
ACE out, she drummed her fingers on the surface of her clipped prison, still attempting to free herself as she typed out a message, set to a wide local range:]
This is Shepard: is there anyone nearby who can lend assistance?
[Then, after another moment of thought:]
Flight abilities would be beneficial.
5. TIME GOES QUICKER BETWEEN THE TWO OF US
[Behold! The entrance to THE HAUNTED MAZE. A sign promises ghosts, ghouls, and a variety of sumptuous fruits. Beware!
Behold! Shepard, and her newest child companion! The girl, young, hair done up in twin braids, seems very interested in a tree just outside the entrance to THE HAUNTED MAZE.
Very interested. In fact, she has her face pressed right up against it, running into it over and over.
Very interested. Why, on closer inspection, half the girl's body seems to be inside of the tree. Shepard, for her part at least, is desperately attempting to shield the girl's face from the bark, while coaxing her with a gentle voice:]
Close, you're getting it—just move back, mooove back towards me-- no, that's the wrong-- towards me, if you move back, you'll be out of the tree--
[For a moment, it seems to work—the girl steps back, turns, inverts several times—and walks back into the tree, unable to avoid its siren hitbox. From between Shepard's fingers, there is a muffled groan.]
WILD: WOULD YOU HAVE IT ANY OTHER WAY?
[Got something special you want to throw down with? Hit me up @nijikai! I'm easy like Sunday morning.]

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