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
He'll be quiet for awhile before speaking up again.]
...I'm sorry I got so jumpy back there. I'm usually not scared of the dark, you know.
[It's not nearly as flippant as it could be, at least.]
no subject
He'll look over from...whatever it is he's currently trying to look at (he'll keep his distance from most things because holy fuck, the last large thing he touched didn't like him doing that, now, did it) but he doesn't reply right away, he just...can't seem to settle. After a while, he'll leave whatever's actually parked at the station be in favor of heading upwards onto the platform proper and closer to the shops.
Come on, let's go.]
no subject
He'll poke around the shops once they get there, though he doesn't seem particularly invested in anything. This is fascinating and all, but it's kind of hard to get really interested in anything at the moment.]
no subject
It's...stress, that's all.
[And that's quiet, spoken while he's checking out one of the windows and decidedly not looking over, but at least it's out there.]
You're all right now...?
no subject
I'm... I'm okay. My shoulder still sort of hurts and I worked myself up a bit too much back there, but I'm doing better now.
[He's going to keep doing his best to be honest.]
no subject
[He's not going to press further than that, though; he's not certain he could make himself, even if he wanted to.
He'll allow the contact, though, so at least there's that.]
no subject
...Do you want me to wait until we're home to talk about that?
[He wouldn't mind the extra time to figure out what to say, but something still feels weird here and he thinks this might be the cause of it.]
no subject
no subject
[...]
You remember that dream you saw several months ago, ja? I haven't been having as many dreams like that lately, but I...
[Come on, don't freeze up now. Jaeger shakes his head and forces the words out.]
I'm scared. I'm so scared of becoming that person. I don't want to treat those closest to me like they're unimportant, I don't want to become someone who only finds enjoyment in messing with others. I don't know enough about him, so for all I know I could be getting closer to him with each passing day and that idea...
[His grip tightens on Wesker's hand.]
I think... I wouldn't care anymore if I was exactly the same as he was. And that's what scares me most.
[He's not looking at Wesker as he speaks, but he's not really seeing anything else either.]
no subject
Your reactions to things are enough to make it plain that you aren't like that. Nowhere close.
[It's quiet, but it's a response; it's difficult to find words, but they're happening, at least.]
...Perhaps we were always going to be like them. Not exactly, not even close to exactly in some cases... But close enough for us to see some of them in ourselves. It gives some sort of credence to what Retrospec has been saying, at any rate. About their souls, and how they relate to us.
It's why I'm not afraid anymore. I don't like it, and I don't want to accept it. But that's the understanding that I've come to, I think - the knowledge that there isn't a clear-cut difference between who he was and who I am. I'm not...changing, it's just who I've always been.
[He's kind of vibrating a little, though, once that's out there; not quite shaking, just...his nerves are very active, he can feel them.]
If you don't want that, then establish differences. Decide who you're going to be now and adhere to it. I'll help you, with whatever you decide to do. You know I will.
no subject
That's what gets him to look up at Wesker, though he doesn't interrupt. He waits until Wesker's done and then some, to really process it. He understands better now, he thinks. The idea that they've always been like this and they've always been some level of close to their past selves isn't terrifying; it's not exactly the most comforting either, but it's easier to bear than to think that he's changing to become more like his past self.
His grip tightens again, but he'll loosen it a bit when he realizes what he's doing. He's definitely not letting go of Wesker's hand, though.]
...I know you will. That's one of the many things I love about you.
[Wesker knows what he means by that, surely. It's not as direct as Jaeger would like, but at least he can get the word out for once.]
I'll do that, then. I think I can at least start with being more honest in general - the man probably couldn't manage honesty if his life depended on it.
[It's still a pretty big leap for someone like him, so after a moment he amends that.]
Well, I can try to be more honest to the people I like. That seems like a more realistic goal.
no subject
Jesus, that's really nice, actually? He's not going to dwell on it for too long because that damn near kills any words he may have been about to say, but that first part was really nice, hold on...]
That sounds fair, I think. Regarding honesty.
[...]
As for your concern about not caring anymore - you said he did love someone once. So perhaps it's not impossible, even if things change a bit.
no subject
[That's forceful, but he manages to get it out. He looks pleasantly surprised for a moment and then squeezes Wesker's hand again.]
...I think I'll be okay now. That's a much better way of looking at it and while it might take some getting used to, I think I'll be able to see it that way too. I may be a bit closer to him than I realized, but I can deal with that.
Thank you, Albert. To be honest, I didn't really want to talk about this, but I feel much better now.
no subject
He seems pleased about it, though, impossibly so; he's pleased with all of it, really, he's just...it's taking him a moment to figure out what to do other than stand here and vibrate.
...If there's something else he should be doing, he certainly doesn't know what it is.
It's not the first time he's heard it, in this life or the past; far from, really. But at the same time, this means a lot to him, in a way it wouldn't have back then - and it's those sorts of differences that he's telling Jaeger to hold onto, and perhaps he doesn't mind holding onto a few of them himself, either.]
...It's good that I could help you.
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Of course you can. You've always been very good about that, you know. Even back when I didn't want to be helped! So thank you - for this, and for everything.
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I... Of course. Likewise.
no subject