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
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[I mean there's not even files or guns or plants in here, what is even the point.
Come on, let's go; the tunnels are kind of asking to be explored out there.]
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... She takes the lead. ]
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...And I mean, it's not like there's sentient opera leeches or anything down here, to his knowledge. So we're already one step above the training facility, or wherever he was with Birkin at the moment.]
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... So... which cart? She gestures with a quizzical look! There's one faintly playing music and then one just. ... Looks like the others more or less. Oh wait, can he see? ... Shit with those sunglasses how is he seeing at all. She kinda coughs and, ]
So which one?
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That said, he tips his head a bit in the direction of the one that's playing music over there; clearly, nothing bad has ever come of unoccupied things playing music by themselves.]
That one seems to be begging it.
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[ But.
Yes, let's go check out this phantom music, because it really is begging for them to go into it. ]
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[No, really, let's see what sort of horrible crap is on display in here tonight.
...Musical instruments, huh. He'll go over and start touching some of it eventually, though he can't say that he knows how to play anything in here competently.]
...I suppose it could be worse overall in here.
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[ . . . and memes. A lot of memes. That said, she herself goes over to tug on one of the instruments, and looks around for some music sheets as well. Maybe whatever sheet music there in here will make it... who knows? Something. She hums. ]
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Speaking of obtuse...
[...He doesn't have much time to get the rest of that out there, however, before those doors they enter through rather loudly slam shut; it's accompanied by the feeling of movement, and the, uh. Sounds of Tom Cochrane?]
...Really.
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Really? A music trap?
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That said, he's going to make his way back toward the doors, just to see if he can get a better indication of what's going on; they certainly don't want to open, nor can he work out what the hell caused all of the...this, so you know what, fine. Whatever.]
Well, I suppose this might as well happen.
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[ This.
Rock-pop... though...
She groans and looks out the windows herself, trying her hands on them and considering if she'd survive leaping out of a moving t rain car. ... Probably not, right? Or at least not without more injuries than it's worth. Groaning, she makes to settle down into a chair here, looking around the room again.
... What's the source of the music maybe she can stop it. ]
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Like, seriously, why did we expect a logical solution like that.]
It's not as though this will last forever - either we'll run out of tunnel eventually, or we'll run out of whatever the music is. Here's hoping it isn't any worse if they change the selection.
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[ he had like maybe three good songs top she's pretty sure?
... Rocking her feet on this chair. But it's meant to be a joke. ]
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[i mean thankfully she only thinks there were only like three good songs maybe, he'd have to start questioning her taste -
But eventually the Cochrane will start to die down, and as it does there's another change in the car, the sound of the large screen there coming to life; it's accompanied by other, sharper sounds, loud and distinct - gunshots firing hard against a metal floor, the sound of footsteps and someone drawing up abruptly, a greeting by what is possibly the most Soviet man in the world.
Comrade Wesker. Welcome to my humble abode.
Wesker, to his credit, doesn't seem to be reacting much; he just folds his arms across his chest and watches, head tipped slightly to the side.]
...I see.
[It's quiet when it leaves him; there's a lot that's familiar about this, though the angle it seems to be coming from is...odd - it's third-person perspective instead of first, and it's more than a little surreal to be watching himself like this.
He doesn't seem to have much to say outside of that, however - not when Sergei introduces his "friends", not when he heavily implies that Wesker is going to die here. The fight that ensues is...likewise strange, though that's for different reasons; those certainly are powers on display there, aren't they.
He'll watch, and he won't look away for the duration; it's not a bad memory, all things considered. If anything, he sort of likes this one.]
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But all of it puts her in silence as she sort of just.
Watch this, glancing over at Wesker now and again.
The dodging and weaving movements the fact those weird men sponge up so many bullets it's just... surreal. Like an action movie or one of those Call of Duty games or something. ]
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...I remembered that a few months ago. September, I think. The colonel's name was Sergei; I don't recall anything about his friends, unfortunately.
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[ . . . Let's just.
Start there. ]
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[ He mentioned those before... right???
... That's so gross. ]
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That said, she crosses her legs a little and exhales. ]
Do you have any of that physical capability yet? The wall run was very impressive.
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