Albert Wesker (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
manufactured) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
recolle2018-01-14 02:54 pm
manufactured) wrote in recolle2018-01-14 02:54 pm
Entry tags:
[OPEN] There is an exit here
WHO: Albert Wesker, whomever else decides to join him (presumably you!)
WHERE: Subway tunnels
WHEN: Sometime in January
WHAT: January event catch-all! Featuring going through luggage from the 1950s, playing piano kind of badly, memory-sharing, fighting a train, having a mild existential crisis, and otherwise exploring the subway tunnels with a bunch of guns. If there is something you want to do in these tunnels, we can come do it in these tunnels.
WARNINGS: None for the log itself? If things come up in the entertainment car, memory-wise, I'll put warnings on the individual threads, though.
[A. ENTRANCE]
[You know, there are a lot of things that can be done with the sudden appearance of tunnels like this; it seems like the one option that's not on the table is avoiding them entirely. Following that light down here today will lead you to find someone sitting on the edge of the commuter platform, above the tracks; he's dressed in what looks like black leather and from the look of it, you've come across him while he's checking his guns.
...His several guns. He's verifying that his handgun is loaded to his liking whenever you approach, but he's also got a large shotgun strapped to his back and what looks like an automatic pistol lying just to his side, well within his reach. And in case projectile weapons aren't going to get the job done today, he's got a good-sized combat knife sheathed on him as well, because why the fuck wouldn't he.
Whatever's going on with him, Wesker appears to be preparing for war, or at least some kind of battle in those tunnels; whether you're meeting up with him for pre-arranged exploration or you're just stumbling down here today and deciding that the guy who's armed to the teeth might be a good idea to take along (hey, maybe he knows what he's doing, maybe he's been down here before), feel free to approach him and figure out a game plan. After all, he's not opposed to moving in numbers, and maybe you'll get an adventure out of it.]
[B. TRAIN CARS - PART I]
[Granted, if you find him later, he's going to be taking his sweet time looking through those train cars; Wesker has always been odd about what's socially acceptable and what isn't, but it seems he's having literally no qualms whatsoever about simply raiding a bunch of currently-nonexistent people's stuff. In the passenger car and sleeper cars both, he'll be going through personal items – small journals that either have nothing in them or don't seem to be important and are quickly discarded, newspapers being checked for dates and events, clothing being laid out so he can get a better look at all of it...
...He seems to be looking for something in particular, though it's difficult to say what, exactly; either way, he's a weirdo on a mission going through a bunch of stuff that isn't his, just in front of God and everyone, and he's having...well, saying he's having a great time is an overstatement, but he's at least having an acceptable time. Sure.]
[C. TRAIN CARS – PART II]
[The fourth car will catch his attention eventually, once he's done invading the previous passengers' privacy; his handgun is drawn when he enters, though he'll put it up once it seems evident that there isn't a threat in here. The instruments hold his interest for a short while; there's an upright piano in here, and he can be found standing at it just kind of idly plinking the keys for a while. The sort of thing that indicates that maybe he knew how to play at one point, but hell if he really does anymore.
...He'll likely be in here until those doors slam closed behind him and anyone else who happens to be here with him; basically, let's see where things go in here and then you can get one of his memories on that screen – or one of your character's, if you'd prefer! I'm easy, come hit me with whatever. Or just deal with his shit piano-playing, that's also cool.]
[D. TRAIN CARS – PART "THIS IS STILL BETTER THAN THE ECLIPTIC EXPRESS"]
[...Okay, you know what, he's willing to deal with things like rats and vines and disembodied eyes and train cars with minds of their own, but he is not particularly here for the train car with a mind of its own. He'd been going to see what's inside it like your average Resident Evil person with absolutely no sense of boundaries when the thing had decided that it was a great time to be alive, and likewise a great time to, you know, develop approximations of eyes and limbs and shit.
Wonderful.
So today we have a man with an assault shotgun, absolutely no sense of self-preservation and not a single fuck to give, standing his ground and facing down a train like he's daring it to come at him. After a moment he unloads a well-placed shot into whatever the hell this thing has passing for a face; the gun has an alarming amount of stopping power on it but seeing as this thing is, in fact, a train, he's probably just pissing it off.
You might want to. Assist? Make him move? Tell him to something that isn't shoot a train. Um.]
[E. CENTRAL STATION]
[A literal light at the end of the tunnel, how...tacky? It seems kind of tacky. But you know what, it actually gets Wesker to lower his weaponry a bit, and after a while he's more than content to start looking around; the travel guides will get his attention before too long, and some of them seem more relevant than the others.
Welcome to Africa. Welcome to Brazil.
Welcome to the Arklay Mountains.
It's that last one that catches his attention fully; he picks it up immediately, paging through it for a moment before the whole thing begins to seem too surreal for his liking. He...knows this place, despite having never seen it in person – the dense forests, the estate that houses the large research compound and executive training facility (it even states that it was once run by A. Wesker and W. Birkin), the grand mansion nearby that's buried among the trees...
He's gone strange and very still; it's obvious that he doesn't know how to react and as such he quite simply isn't. He'd never had an attachment to these places in his memories; they were just a means to an end to him, then. But now...
He'll be here for a while.]
[F. WILDCARD]
[Have something else you want to do? Feel free to PM me or grab me on plurk at![[plurk.com profile]](https://plurk.com/favicon.ico)
InstantEternity, and I'll see what we can do! Either that or just sling a prompt at me and I'll roll with it, I'm flexible. o/ ]
WHERE: Subway tunnels
WHEN: Sometime in January
WHAT: January event catch-all! Featuring going through luggage from the 1950s, playing piano kind of badly, memory-sharing, fighting a train, having a mild existential crisis, and otherwise exploring the subway tunnels with a bunch of guns. If there is something you want to do in these tunnels, we can come do it in these tunnels.
WARNINGS: None for the log itself? If things come up in the entertainment car, memory-wise, I'll put warnings on the individual threads, though.
[A. ENTRANCE]
[You know, there are a lot of things that can be done with the sudden appearance of tunnels like this; it seems like the one option that's not on the table is avoiding them entirely. Following that light down here today will lead you to find someone sitting on the edge of the commuter platform, above the tracks; he's dressed in what looks like black leather and from the look of it, you've come across him while he's checking his guns.
...His several guns. He's verifying that his handgun is loaded to his liking whenever you approach, but he's also got a large shotgun strapped to his back and what looks like an automatic pistol lying just to his side, well within his reach. And in case projectile weapons aren't going to get the job done today, he's got a good-sized combat knife sheathed on him as well, because why the fuck wouldn't he.
Whatever's going on with him, Wesker appears to be preparing for war, or at least some kind of battle in those tunnels; whether you're meeting up with him for pre-arranged exploration or you're just stumbling down here today and deciding that the guy who's armed to the teeth might be a good idea to take along (hey, maybe he knows what he's doing, maybe he's been down here before), feel free to approach him and figure out a game plan. After all, he's not opposed to moving in numbers, and maybe you'll get an adventure out of it.]
[B. TRAIN CARS - PART I]
[Granted, if you find him later, he's going to be taking his sweet time looking through those train cars; Wesker has always been odd about what's socially acceptable and what isn't, but it seems he's having literally no qualms whatsoever about simply raiding a bunch of currently-nonexistent people's stuff. In the passenger car and sleeper cars both, he'll be going through personal items – small journals that either have nothing in them or don't seem to be important and are quickly discarded, newspapers being checked for dates and events, clothing being laid out so he can get a better look at all of it...
...He seems to be looking for something in particular, though it's difficult to say what, exactly; either way, he's a weirdo on a mission going through a bunch of stuff that isn't his, just in front of God and everyone, and he's having...well, saying he's having a great time is an overstatement, but he's at least having an acceptable time. Sure.]
[C. TRAIN CARS – PART II]
[The fourth car will catch his attention eventually, once he's done invading the previous passengers' privacy; his handgun is drawn when he enters, though he'll put it up once it seems evident that there isn't a threat in here. The instruments hold his interest for a short while; there's an upright piano in here, and he can be found standing at it just kind of idly plinking the keys for a while. The sort of thing that indicates that maybe he knew how to play at one point, but hell if he really does anymore.
...He'll likely be in here until those doors slam closed behind him and anyone else who happens to be here with him; basically, let's see where things go in here and then you can get one of his memories on that screen – or one of your character's, if you'd prefer! I'm easy, come hit me with whatever. Or just deal with his shit piano-playing, that's also cool.]
[D. TRAIN CARS – PART "THIS IS STILL BETTER THAN THE ECLIPTIC EXPRESS"]
[...Okay, you know what, he's willing to deal with things like rats and vines and disembodied eyes and train cars with minds of their own, but he is not particularly here for the train car with a mind of its own. He'd been going to see what's inside it like your average Resident Evil person with absolutely no sense of boundaries when the thing had decided that it was a great time to be alive, and likewise a great time to, you know, develop approximations of eyes and limbs and shit.
Wonderful.
So today we have a man with an assault shotgun, absolutely no sense of self-preservation and not a single fuck to give, standing his ground and facing down a train like he's daring it to come at him. After a moment he unloads a well-placed shot into whatever the hell this thing has passing for a face; the gun has an alarming amount of stopping power on it but seeing as this thing is, in fact, a train, he's probably just pissing it off.
You might want to. Assist? Make him move? Tell him to something that isn't shoot a train. Um.]
[E. CENTRAL STATION]
[A literal light at the end of the tunnel, how...tacky? It seems kind of tacky. But you know what, it actually gets Wesker to lower his weaponry a bit, and after a while he's more than content to start looking around; the travel guides will get his attention before too long, and some of them seem more relevant than the others.
Welcome to Africa. Welcome to Brazil.
Welcome to the Arklay Mountains.
It's that last one that catches his attention fully; he picks it up immediately, paging through it for a moment before the whole thing begins to seem too surreal for his liking. He...knows this place, despite having never seen it in person – the dense forests, the estate that houses the large research compound and executive training facility (it even states that it was once run by A. Wesker and W. Birkin), the grand mansion nearby that's buried among the trees...
He's gone strange and very still; it's obvious that he doesn't know how to react and as such he quite simply isn't. He'd never had an attachment to these places in his memories; they were just a means to an end to him, then. But now...
He'll be here for a while.]
[F. WILDCARD]
[Have something else you want to do? Feel free to PM me or grab me on plurk at
no subject
[Well, that makes it so much worse.]
no subject
[And that's...immediate, in a way he doesn't really like.]
no subject
[Is it obvious he doesn't get it? Because he doesn't get it.]
no subject
[...]
...It hardly matters now. We should keep moving, shouldn't we?
no subject
I think I understand.
[It must be difficult to talk about it, even if it was a lifetime ago...]
But yes, let's keep going. If it's something you want to talk about at some point, I'll listen, of course.
no subject
[...He knows Jaeger hates that answer, but it is what it is.
He pushes himself away from the wall at that; come on, let's go. ...Preferably in the direction away from the rabid train car.]
no subject
Well, that's true, but...
[But he doesn't really have a response, so with a sigh he'll follow Wesker.]
no subject
What is it...?
no subject
I suppose I just don't like that answer. I understand that it is a necessity, but... I don't know. That answer just doesn't sit well with me.
no subject
I assume you would prefer that I would be fine because I legitimately am, not because I have to be.
no subject
[It's sort of a relief that Wesker can put it into words so easily.]
It's... sort of frustrating, really. Being okay because we have to be and not because we've had enough time to actually process these things. Though really, I don't know if there'd be enough time in the world for that.
[It sucks, but as long as it works, he supposes...]
no subject
I don't know how much more time I want to process it.
[It's not quite what he wants, but it's close enough; after a moment, he'll try again.]
I don't hate him anymore, you know. The person I used to be.
no subject
After a moment, Jaeger moves to catch up so he's walking beside Wesker.]
You don't? Why?
no subject
[That's...sharp, a bit, but it's not angry; more abrupt than anything.]
It isn't acceptance or forgiveness so much as it is understanding.
[Which bothers him on a completely different level, but he'll work through it. Probably. Maybe. Eventually.]
no subject
...He's not sure he likes the sound of that.]
No, I didn't think your stance on that would change. I didn't think it'd be acceptance or forgiveness either, but I'm not sure I follow. Are you saying you understand why he did the things he did?
no subject
[And that's...god, that's quite suddenly all he wants to say on this subject; he doesn't know why he bothered trying to explain this in the first place - it isn't that he doesn't think Jaeger won't understand, because Wesker is fairly sure that he will with enough explanations, but he isn't sure why he thought this was a good idea in the first place-
So he'll just withdraw, as he does sometimes, and try to shake it off.]
Don't worry about it, Jaeger, it's fine.
no subject
If you ever want to talk about it, I'll listen. I can't guarantee that I'll understand, but I'd like to try.
[He won't press any further than that, though.]
no subject
...I've noticed for a while now that my thoughts have been becoming more like those that I remember. More violent, more...callous toward people who don't deserve it. Quicker to anger and lashing out. I've never frightened easily, but now it's less of a lack of fear and more a fascination with things that shouldn't elicit that reaction. There's an interest in people still, but it's more geared toward what they're capable of doing for me or whatever I'm trying to do at the moment as opposed to any interest in them or their well-being. How convenient they are, I suppose.
It's more than the fighting, it's everything. I know a part of me has always been that way, but the more memories I receive, it's harder for me to tell how much of it is genuinely that part of me and how much of it is him.
no subject
Of course all that goes out the window when Wesker speaks up again. There are a lot of things that scare Jaeger when it comes to what Retrospec is doing, but the thing he's been most afraid of is becoming more and more like the man he was in his past life.
Needless to say, this terrifies him.]
...Oh.
[It's quiet and sort of hesitant, but it reminds him that he needs to say something in response to that. His free hand has come up to settle on his chest at some point during Wesker's speech and he forces it down to his side now.]
I see. I...
[Is I'm sorry the right sentiment here? He decides not to say it and changes direction instead.]
I can't say I've noticed anything like that myself. I think it's because I'm still so confused about everything that was going on. I don't really know my other self all that well yet. I have an idea of who he was, but I couldn't tell you why he was doing any of that.
Understanding like that... I'm not really sure what to make of it, honestly.
[It's scary. It's the most terrifying thing he's ever heard.]
no subject
[He'd seen Jaeger's nightmares in October, after all; it'd be impossible for him to not know.]
I'll be all right. I'm not afraid of it, and as I said, I don't hate him anymore.
no subject
I'm glad you're not afraid of it. That...
[makes one of us]
...really would be awful. I'm glad to hear that you'll be fine too. I do worry about you sometimes, you know!
[That's light; he's not intentionally trying to deflect away from his own fears, it's just easier to try to lighten the mood right now. This isn't exactly the best place for a deep conversation about his fears when they're surrounded by those red eyes.]
no subject
Jaeger-
[He's aware of it, though, the fact that it's for the best to not get distracted by things like this now, but he doesn't like the idea of just leaving it there.]
...Talk to me about this. When we're safe.
Please.
no subject
...Sorry. Yes, I'll talk to you about it once we're out of here.
no subject
I shouldn't have told him.
It's the first thought that comes to mind, and it's the one he's going to have difficulty ignoring for a while. Because of course Jaeger isn't going to want to talk to him after something like that; why would he? For all his talk about how his feelings won't change no matter what happens, he's also made no secret about how much he hates the person Wesker used to be, so why -
Christ.
It's probably not much of a surprise when he doesn't speak for a while; he's trying not to let himself get riled to a point where he can't when he needs to, whenever this godforsaken tunnel ends, but it's. difficult.]
no subject
It's certainly gotten him to be jumpier, anyway. He sticks close to Wesker, but his eyes are constantly trained on the things out there in the darkness and any movement gets him to tighten his grip on the briefcase, finger hovering over the button to transform it until he's sure it's safe again.
We've got to be getting close to something, right?]
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)