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)
recolle2018-07-09 12:11 am
manufactured) wrote in recolle2018-07-09 12:11 am
Entry tags:
[OPEN] I'm wide awake the more I sleep
WHO: Albert Wesker, whomever decides to join him (presumably you!)
WHERE: Various
WHEN: Throughout July
WHAT: One big "family reunion", spanning several dreamscapes and a meeting in Bosuma.
WARNINGS: Violence (primarily strangulation), blackmail, chemically-induced brainwashing, other delightful things one would expect from the Resident Evil villain's memories? There is a blanket warning for "this is gonna suck" over this whole thing, though if there's anything more severe than what's been listed here it will be warned for in comment subjects and this heading will be adjusted accordingly as we go.
[DREAMSCAPE - BARRY BURTON]
( cw: blackmail/coercion )
[The mansion you find yourself in is large.
Honestly, for those of you who aren't strangers to Wesker's dreams, this place may seem familiar; there's very little visible difference in design or atmosphere from the Spencer estate. It used to be grand once, you can tell that much easily; you first become aware of the foyer, the high-ceilinged scale of it intimidating and speaking of former opulence that's been left to go to seed over the past few years, all cracked walls and peeling wallpaper and odd, dark stains on the floor that one certainly hopes aren't blood. There's a chandelier hanging over your head, huge and golden and ornate; once in a while it shakes gently with the settling of the building, the crystals dangling from it clinking softly together, and the whole thing just bears with it the aura that you should probably move before it comes down.
There's no definite indication that it will, of course, but do you really want to chance it?
The stairs are in just as much disrepair as the rest of the place, cracked and broken in their grand sweep up to the upper level of the building; the wainscoting on the walls is cracked and covered in what looks like water damage, and from the look of it the brass-sconced lights aren't working very well, all of them yellowed and flickering with age.
There's a hallway to your right that seems clear but dark, and another to your left that seems better-lit but your path is impeded by a set of heavy, wooden crates standing about waist-high.
Will you explore?]
[DREAMSCAPE - JILL VALENTINE]
( cw: chemically-induced brainwashing )
[The room is empty.
It's large and expensive-looking, all marble floors and tall columns stretching up toward the ceiling, but it's alarmingly, oppressively empty in a way that sets one's teeth on edge - like there should be something here, you can almost feel it, but there's quite simply and inexplicably nothing. The initial gradeur of the room seems to fall away the longer you look; the floor is pockmarked with bullet holes, one of the walls to your left is broken open in places, revealing a dark hallway beyond it, and the entire area is bathed in dim light streaming in from the double doors on the second floor, visible behind a thick railing up a set of stairs. The stairs, too, bear battle scars from bullets and strange, long gauges alike, but they're sturdy and pose no threat of collapse.
If you listen long enough, however, you'll find that it's likely you're not alone.
It's difficult to tell where the sound is coming from, distorted though it is by the hollowness of the room; it may take a moment to place, but it's the soft sounds of someone in pain - someone breathing heavily, the exhales accompanied by a quiet, involuntary sound that's both determined and deeply pained.
Something obviously happened here. It's just difficult to say precisely what, at this exact moment. Or who's left.]
[DREAMSCAPE - CHRIS REDFIELD]
( cw: violence )
[The place you're in is dingy, lit with the occasional fluorescent strip above that flickers and blinks dangerously from time to time but never properly goes out. It's straightforward, this place - just one long, narrow corridor stretching on in front of you, and leading back into the distance if you turn around; the walls are all mottled grey and made of metal, and the floor is covered in hollow grating that trembles and clanks as you walk.
It doesn't offer you anywhere to go, should there be trouble from either in front of or behind you.
Somewhere down the corridor in front of you, echoing softly off the metal and the dead, tight space, you think you can hear something - it sounds like a woman singing. A soft, high melody, unaccompanied and untrained but not unpleasant to listen to, even if it's at enough of a distance that you can't make out any words.
Underneath that, however, there's another sound - quieter, but perhaps more ominous in nature - a mechanical whirring, the light clink of something moving toward you.
That latter sound is coming from behind and above you.]
[BOSUMA - WILLIAM BIRKIN]
( cw: none )
[The last time Wesker had been in these woods, it hadn't gone well.
He's never been the sort to be afraid, and while that incident had shaken him he isn't one to remain complacent in his uncertainty; he's out here today with the handgun and the rifle and a fully-charged phone this time, and if something happens he's got something he texted himself with pulled up already - a crash course in who he is and what he was doing here, lest that get stripped away from him again.
The guns are for the monsters he may run into here; depending on how things go, the guns might also be for the witch. He doesn't like that idea, but it's the one he keeps coming back to; he'll keep it in his head where it belongs for now. But eventually there's movement in those woods, and the movement looks like a person and he's got Samurai Edge out and he's pointing it directly toward the person's face when he quite suddenly realizes who he's looking at.
To his credit, Birkin doesn't flinch.
The man looks exactly as Wesker remembers him; it isn't enough to get Wesker to put the gun down. Seeing Birkin is...alarming, it's a sign that is either very good or very bad, and Wesker can't seem to decide which this is; his grip on the gun is tight, and it remains that way until Birkin addresses him.
He doesn't speak when it's a very bad sign.
The words are easy, shifting around in the way that Birkin's voice always does - he's always been the talkative sort, and he's never as cold with Wesker as he is with the others. "You're acting like you don't know me," he says, and he shrugs a little, and he leans back a little as he says it. "You do know me, don't you? It hasn't been that long."
"Put the gun down," he says, and Wesker's already lowering it before he can finish the sentence; "Come on," he says, "just for a few minutes. We've got a lot to catch up on," and when Wesker pausess he looks like he's seriously considering.
This whole thing is surreal, it's... He breathes deeply.
"You've always liked this, right? Just like we used to."
He takes a little longer to exhale than he'd like, his breath leaving him in a rush; he isn't saying yes, but he isn't saying no, either.]
WHERE: Various
WHEN: Throughout July
WHAT: One big "family reunion", spanning several dreamscapes and a meeting in Bosuma.
WARNINGS: Violence (primarily strangulation), blackmail, chemically-induced brainwashing, other delightful things one would expect from the Resident Evil villain's memories? There is a blanket warning for "this is gonna suck" over this whole thing, though if there's anything more severe than what's been listed here it will be warned for in comment subjects and this heading will be adjusted accordingly as we go.
[DREAMSCAPE - BARRY BURTON]
( cw: blackmail/coercion )
[The mansion you find yourself in is large.
Honestly, for those of you who aren't strangers to Wesker's dreams, this place may seem familiar; there's very little visible difference in design or atmosphere from the Spencer estate. It used to be grand once, you can tell that much easily; you first become aware of the foyer, the high-ceilinged scale of it intimidating and speaking of former opulence that's been left to go to seed over the past few years, all cracked walls and peeling wallpaper and odd, dark stains on the floor that one certainly hopes aren't blood. There's a chandelier hanging over your head, huge and golden and ornate; once in a while it shakes gently with the settling of the building, the crystals dangling from it clinking softly together, and the whole thing just bears with it the aura that you should probably move before it comes down.
There's no definite indication that it will, of course, but do you really want to chance it?
The stairs are in just as much disrepair as the rest of the place, cracked and broken in their grand sweep up to the upper level of the building; the wainscoting on the walls is cracked and covered in what looks like water damage, and from the look of it the brass-sconced lights aren't working very well, all of them yellowed and flickering with age.
There's a hallway to your right that seems clear but dark, and another to your left that seems better-lit but your path is impeded by a set of heavy, wooden crates standing about waist-high.
Will you explore?]
[DREAMSCAPE - JILL VALENTINE]
( cw: chemically-induced brainwashing )
[The room is empty.
It's large and expensive-looking, all marble floors and tall columns stretching up toward the ceiling, but it's alarmingly, oppressively empty in a way that sets one's teeth on edge - like there should be something here, you can almost feel it, but there's quite simply and inexplicably nothing. The initial gradeur of the room seems to fall away the longer you look; the floor is pockmarked with bullet holes, one of the walls to your left is broken open in places, revealing a dark hallway beyond it, and the entire area is bathed in dim light streaming in from the double doors on the second floor, visible behind a thick railing up a set of stairs. The stairs, too, bear battle scars from bullets and strange, long gauges alike, but they're sturdy and pose no threat of collapse.
If you listen long enough, however, you'll find that it's likely you're not alone.
It's difficult to tell where the sound is coming from, distorted though it is by the hollowness of the room; it may take a moment to place, but it's the soft sounds of someone in pain - someone breathing heavily, the exhales accompanied by a quiet, involuntary sound that's both determined and deeply pained.
Something obviously happened here. It's just difficult to say precisely what, at this exact moment. Or who's left.]
[DREAMSCAPE - CHRIS REDFIELD]
( cw: violence )
[The place you're in is dingy, lit with the occasional fluorescent strip above that flickers and blinks dangerously from time to time but never properly goes out. It's straightforward, this place - just one long, narrow corridor stretching on in front of you, and leading back into the distance if you turn around; the walls are all mottled grey and made of metal, and the floor is covered in hollow grating that trembles and clanks as you walk.
It doesn't offer you anywhere to go, should there be trouble from either in front of or behind you.
Somewhere down the corridor in front of you, echoing softly off the metal and the dead, tight space, you think you can hear something - it sounds like a woman singing. A soft, high melody, unaccompanied and untrained but not unpleasant to listen to, even if it's at enough of a distance that you can't make out any words.
Underneath that, however, there's another sound - quieter, but perhaps more ominous in nature - a mechanical whirring, the light clink of something moving toward you.
That latter sound is coming from behind and above you.]
[BOSUMA - WILLIAM BIRKIN]
( cw: none )
[The last time Wesker had been in these woods, it hadn't gone well.
He's never been the sort to be afraid, and while that incident had shaken him he isn't one to remain complacent in his uncertainty; he's out here today with the handgun and the rifle and a fully-charged phone this time, and if something happens he's got something he texted himself with pulled up already - a crash course in who he is and what he was doing here, lest that get stripped away from him again.
The guns are for the monsters he may run into here; depending on how things go, the guns might also be for the witch. He doesn't like that idea, but it's the one he keeps coming back to; he'll keep it in his head where it belongs for now. But eventually there's movement in those woods, and the movement looks like a person and he's got Samurai Edge out and he's pointing it directly toward the person's face when he quite suddenly realizes who he's looking at.
To his credit, Birkin doesn't flinch.
The man looks exactly as Wesker remembers him; it isn't enough to get Wesker to put the gun down. Seeing Birkin is...alarming, it's a sign that is either very good or very bad, and Wesker can't seem to decide which this is; his grip on the gun is tight, and it remains that way until Birkin addresses him.
He doesn't speak when it's a very bad sign.
The words are easy, shifting around in the way that Birkin's voice always does - he's always been the talkative sort, and he's never as cold with Wesker as he is with the others. "You're acting like you don't know me," he says, and he shrugs a little, and he leans back a little as he says it. "You do know me, don't you? It hasn't been that long."
"Put the gun down," he says, and Wesker's already lowering it before he can finish the sentence; "Come on," he says, "just for a few minutes. We've got a lot to catch up on," and when Wesker pausess he looks like he's seriously considering.
This whole thing is surreal, it's... He breathes deeply.
"You've always liked this, right? Just like we used to."
He takes a little longer to exhale than he'd like, his breath leaving him in a rush; he isn't saying yes, but he isn't saying no, either.]
chris redfield dream!
[Howard doesn't like the look of this place one bit. He squints into the darkness of the corridor, unsure what to do. The song sounds nice, but...that sound. That overbearing mechanical sound.]
I-I don't want to find out. [He mutters - he has to make a decision, so he moves down the corridor, in the direction of the voice. Hopefully, that will be a better way than...in the direction of that thing, whatever it is.]
no subject
Following the voice will strengthen the sound, the words still a bit strange and distorted and difficult to make out, though the melody is distinctive enough, if a bit repetitive. Eventually the corridor will take a sharp turn to the right, leading to a closed door nearby, sturdy-looking and made of the same sort of steel as the walls.]
bosuma
Ah, so this is Birkin.
[He's got his weapon out and already transformed into its scythe form. He's absolutely not lowering his weapon, but his gaze flicks to Wesker to see if he's followed Birkin's words.]
no subject
It's fine, Jaeger. He...
[He wants to say that Birkin is harmless, that he's just a researcher, that he's always been docile whenever Wesker has seen him, but that isn't true, is it? He's seen what Birkin did to Lisa; Birkin is another one who mutated his own body beyond recognition.]
...He's not dangerous.
[That's...closer to what he wants, though it makes Birkin shoot him an expression that's only half-pretending to be annoyed.
"Well, we couldn't all have your skills."
The words are light, familiar in a way Wesker can't really place.]
no subject
Just be careful, ja? We don't know what this is.
no subject
[Somewhere in there he knows he should be more distrusting of this, but...]
no subject
...Well, I hope it's okay if I tag along! I doubt I could find my way back on my own anyway!
[That's absolutely not the reason why, but he's not sure just how aware Birkin is so he's just going to play it safe for now.]
no subject
[Before Wesker can finish, however (he isn't even sure he knew where he was going with that, if he's honest), Birkin speaks up; he doesn't seem bothered by this at all, though his words are incredibly superficial.
"I don't see why you would want to... It isn't as though anything we'd have to discuss is all that interesting to outsiders."
...The look Wesker shoots Birkin at that is very, very plainly oh my god, don't be rude, not like Birkin seems to care much.]
no subject
Jaeger smiles and his words are just as superficial when he responds.]
I doubt the two of you could really be that boring, ja? You don't need to worry about me!
no subject
Jaeger, perhaps if you weren't brandishing a giant weapon this might be a bit easier... Birkin doesn't fight, he's probably unarmed - you don't have any syringes on you, I imagine? - and if he becomes a problem, I'll deal with him myself.
[The question about syringes just gets Birkin to shake his head, implying a negative answer there, though he just shrugs at the rest; it doesn't seem to surprise or faze him any.
"I haven't given you a reason to have to do any of that yet, have I?"]
no subject
(Then again, he's already irritated, so maybe he's the one with the wonky definition here.)
Finally he lifts his shoulders a bit and transforms the weapon back into its briefcase form. He doesn't like it, but he does trust Wesker.]
Very well, I'll play nice!
no subject
[That's likely not something he should say while Birkin is standing right there, but to his credit Birkin doesn't seem to mind; he seems fairly confident in the notion that Wesker won't let anything happen to him, and honestly, Wesker can't say he's incorrect in being such.]
no subject
[Listen. He. He knows, okay. He just doesn't like Birkin's face or his attitude. He's kind of a mess, okay.]
But I'll be good, I promise.
no subject
[Just...please. For ten fucking minutes.]
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barry burton
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Yeah, you know what, climbing over them is going to be much faster and it's not like he has anyone to pretend to be dignified in front of, so just give him a moment to get over these things and land on the other side. Alright! What's the rest of this path look like?]
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That said, there's a door at the end of this hallway; judging from the way the light bends around the frame, it seems like there's a light on inside, which means possibly people. Attempting to get closer?]
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Anyway, he really doesn't like the noises the floor's making, but there's light at the end of the hallway, and that's a good enough reason for him to carefully pick his way over there, doing his best not to stay in one spot for too long just in case the floor gives way. So! Can he get the door open once he's over here?]
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