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jumpscares2015-07-09 11:52 am
monstermasher) wrote in jumpscares2015-07-09 11:52 am
Entry tags:
( OPEN ) GAME START.
▶ WHO: Everyone.
▶ DATE: July 9th, 2015 (Day 1)
▶ WARNINGS: Blood, violence, general zombie horror.
▶ SUMMARY: You've met with a bad... however that line goes. Welcome to Earth.
▶ DATE: July 9th, 2015 (Day 1)
▶ WARNINGS: Blood, violence, general zombie horror.
▶ SUMMARY: You've met with a bad... however that line goes. Welcome to Earth.
GOOD MORNING!
Please try and ignore whatever it is that you just heard. It should only last for up to a minute... maybe.
It... it is morning, right?
There are no windows.
There's a light, but it's barely considered one. The compound runs on a solar generator, but that doesn't mean it has a lot of power. The light seems to be hanging from the ceiling, swinging precariously. That's when you might actually start to wake up, sit up, find the things that are familiar to you... and then some of the things that aren't. It'd be wise to explore the small room you're in before leaving through the steel door, but there's nobody around to tell you that.
Outside is a tightly knit compound, just as dark and metallic as the room. The hallway you're in houses dozens more doors identical to yours, and if you're unlucky there may be more people poking their heads out through them, just like you. There's a dull glowing sign that reads MEDICAL BAY but not all of you remember being hurt. Some of you may be just fine, apart from the memory of the sound you heard when waking up.
The Medical Bay is stocked with enough medicine to last a couple of months. There's almost everything that can be found in a hospital. Somebody was thinking ahead.
Outside of the Medical Bay are more doors, some are even locked—many aren't. There are living quarters, a food storage, a kitchen, some laboratories; even a room full of computers and nothing else, all with a screen asking for a password. There's only two doors out of the compound, a vehicle bay with what appear to be a few military jeeps and trucks, and the front doors. It's on the inside of the front doors that something is painted in bright red, flecked with what smell like blood:
DO NOT GO OUTSIDE WITHOUT A GUN AND WATER.
GUNSHOTS ATTRACT THEM.
HOLLOWS IS 1.3 MILES NORTH OF HERE.
GOOD LUCK.
And on the outside of the doors, if you choose to open them:
THE WORLD ENDED JULY 3RD, 2015.
Now... how long ago was that? And where is this place? Luckily for you, Hollows is a small town that can be raided. It hasn't been too long since the apocalypse—surely you'll be able to find something there. Batteries, food, weapons, maybe some people—and what you're guaranteed to find. Them, whatever that means.
Outside of the compound there's a fence with a single gate. Nothing can get past this unless you let them in for tea, so be careful. There's a shooting range and a large shed full of weapons and ammo, enough to last two months if you're careful. Guns, knives, anything that would be used by the military and police is hidden away in the shed. There are even a few hunting bows with arrows.
If you climb up the ladder to the top of the wall, there's enough room to walk along the top. There's definitely something moving in the distance, something you should definitely be worrying about. Maybe it's time to get a good look with a sniper rifle...?
Oh.
It's gone.
Maybe it was just a trick of the light. Regardless, it's impossible for everyone to stay in the compound forever. There are nefarious things at work! The choices are to go to Hollows, stick around, or go somewhere else. Really, the world is almost a blank slate. Maybe more of a used slate, but still yours to explore.
When the night comes, you should be hiding. The screamers, the ragers, whatever the hell they are, are running full tilt through the streets and across the landscape, running through anything in their way, ripping apart anything alive. If you don't make any noise, they won't notice you. Especially since they're stuck listening to each other. But if you get noticed by one, it won't be long until a horde forms... you might be able to outrun one for awhile, but they don't seem to let up on their breakneck pace. Maybe someone should have told you how to kill them.
Please try and ignore whatever it is that you just heard. It should only last for up to a minute... maybe.
It... it is morning, right?
There are no windows.
There's a light, but it's barely considered one. The compound runs on a solar generator, but that doesn't mean it has a lot of power. The light seems to be hanging from the ceiling, swinging precariously. That's when you might actually start to wake up, sit up, find the things that are familiar to you... and then some of the things that aren't. It'd be wise to explore the small room you're in before leaving through the steel door, but there's nobody around to tell you that.
Outside is a tightly knit compound, just as dark and metallic as the room. The hallway you're in houses dozens more doors identical to yours, and if you're unlucky there may be more people poking their heads out through them, just like you. There's a dull glowing sign that reads MEDICAL BAY but not all of you remember being hurt. Some of you may be just fine, apart from the memory of the sound you heard when waking up.
The Medical Bay is stocked with enough medicine to last a couple of months. There's almost everything that can be found in a hospital. Somebody was thinking ahead.
Outside of the Medical Bay are more doors, some are even locked—many aren't. There are living quarters, a food storage, a kitchen, some laboratories; even a room full of computers and nothing else, all with a screen asking for a password. There's only two doors out of the compound, a vehicle bay with what appear to be a few military jeeps and trucks, and the front doors. It's on the inside of the front doors that something is painted in bright red, flecked with what smell like blood:
GUNSHOTS ATTRACT THEM.
HOLLOWS IS 1.3 MILES NORTH OF HERE.
GOOD LUCK.
And on the outside of the doors, if you choose to open them:
Now... how long ago was that? And where is this place? Luckily for you, Hollows is a small town that can be raided. It hasn't been too long since the apocalypse—surely you'll be able to find something there. Batteries, food, weapons, maybe some people—and what you're guaranteed to find. Them, whatever that means.
Outside of the compound there's a fence with a single gate. Nothing can get past this unless you let them in for tea, so be careful. There's a shooting range and a large shed full of weapons and ammo, enough to last two months if you're careful. Guns, knives, anything that would be used by the military and police is hidden away in the shed. There are even a few hunting bows with arrows.
If you climb up the ladder to the top of the wall, there's enough room to walk along the top. There's definitely something moving in the distance, something you should definitely be worrying about. Maybe it's time to get a good look with a sniper rifle...?
Oh.
It's gone.
Maybe it was just a trick of the light. Regardless, it's impossible for everyone to stay in the compound forever. There are nefarious things at work! The choices are to go to Hollows, stick around, or go somewhere else. Really, the world is almost a blank slate. Maybe more of a used slate, but still yours to explore.
When the night comes, you should be hiding. The screamers, the ragers, whatever the hell they are, are running full tilt through the streets and across the landscape, running through anything in their way, ripping apart anything alive. If you don't make any noise, they won't notice you. Especially since they're stuck listening to each other. But if you get noticed by one, it won't be long until a horde forms... you might be able to outrun one for awhile, but they don't seem to let up on their breakneck pace. Maybe someone should have told you how to kill them.
OOC NOTES.
There will be zombies in Hollows. Whether you meet them on the way there is up to you. Apart from the undead and the animals (maybe somebody should let those poor creatures out of their houses) the town is completely deserted. In fact, the closest thing you can find to a human are the bodies of those who died without being bitten, and there's even few of those. You can find anything you'd find in a normal town here, and are free to loot and raid the houses and stores—the cops won't be coming, after all. The power is OFF apart from what you can find that is solar powered or still has a charge. If you're lucky and find another town while exploring the first few weeks, you might find an area that still has power—thank hydroelectricity.
Just keep in mind travel time... and travel expenses.
You have creative freedom over everything else. The world is open. The only stationary places are landmarks and cities—if you want to go to Texas and talk to the poor astronauts stranded up in space, it's there. (Might be a long trip, though...)
If your character can figure it out by geography before getting to Hollows, the compound is located a few hours from the west coast, in California.
The way to kill a zombie is blunt force to the head. The head doesn't need to be removed, but significant damage needs to be done to it. This does not include the throat—it needs to be a headshot.
There's also a glaring hint. The computers in the compound, asking for a password. It is impossible to hack at this time. There will be more on this later!
Finally, if your character is exploring outside of the compound (or extensively inside of it) there's a comment here for linking me the thread. You can also PM me! I'll be ducking in with what your character may or may not have found, via a response to the actual RP thread.
IF YOU HAVE ANY QUESTIONS please direct them here!
There will be zombies in Hollows. Whether you meet them on the way there is up to you. Apart from the undead and the animals (maybe somebody should let those poor creatures out of their houses) the town is completely deserted. In fact, the closest thing you can find to a human are the bodies of those who died without being bitten, and there's even few of those. You can find anything you'd find in a normal town here, and are free to loot and raid the houses and stores—the cops won't be coming, after all. The power is OFF apart from what you can find that is solar powered or still has a charge. If you're lucky and find another town while exploring the first few weeks, you might find an area that still has power—thank hydroelectricity.
Just keep in mind travel time... and travel expenses.
You have creative freedom over everything else. The world is open. The only stationary places are landmarks and cities—if you want to go to Texas and talk to the poor astronauts stranded up in space, it's there. (Might be a long trip, though...)
If your character can figure it out by geography before getting to Hollows, the compound is located a few hours from the west coast, in California.
The way to kill a zombie is blunt force to the head. The head doesn't need to be removed, but significant damage needs to be done to it. This does not include the throat—it needs to be a headshot.
There's also a glaring hint. The computers in the compound, asking for a password. It is impossible to hack at this time. There will be more on this later!
Finally, if your character is exploring outside of the compound (or extensively inside of it) there's a comment here for linking me the thread. You can also PM me! I'll be ducking in with what your character may or may not have found, via a response to the actual RP thread.
IF YOU HAVE ANY QUESTIONS please direct them here!
no subject
[ she can't remember much of anything — except the battle, silena, the drakon, screaming, crying — can't remember if they won, if they lost, if the battle is even over. hyperborean giant, she thinks, but it's the last thing she remembers before she woke up cold, alone — and, not that she'd admit it: afraid. maybe this is all just a dream, hera playing tricks on her, but clarisse hasn't ever done anything to piss off that bitch (that's all annabeth, always has been); if anyone should be pissed off at her, shouldn't it be aphrodite? it's clarisse's fault one of her daughters died, isn't it? (it is.) but clarisse can't imagine aphrodite cared any more for silena than ares cared for clarisse. who else mourns the deaths of demigods but demigods themselves? the gods don't care; clarisse wishes she didn't. but silena's the only person clarisse has ever truly cared for, with her heart, with her soul, with her life — but, then, silena beat her to that one. stupid girl. ]
[ COME BACK! DON'T GO IN THERE! ]
[ it's a faint echo in her head, from when she woke up to now, standing just outside the door labeled MEDBAY — a warning, maybe, probably, but clarisse has never been very good at listening to warnings. ]
[ she only makes it about two feet in before she stops dead in her tracks, staring, frozen and silent, face paling like she's seen a ghost. and she must be seeing a ghost or hallucinating or dead or dreaming — this can't be real — because she can still feel silena in her arms, dying, the tears still fresh on her face, her throat still raw from screaming, demanding kronos come out and face her; she can still feel the weight of her own guilt, the warmth slowly draining from silena's body, the color fading from her eyes, and then she was gone, dead, and it was clarisse's fault. if she had just — if she hadn't — if, if, if. ]
[ words die in her throat; what can she even say? there's nothing she can say, nothing that would make up for everything, nothing that would make it all okay. she let silena die and she'll never forgive herself for that. but it's her guilt, her fear, that keeps her rooted to the spot she's in, keeps her staring at silena — beautiful, radiant, impossible silena — her best friend, her everything, but more than all of that, the one person she never told i love you. ]
no subject
it started, ended, all encompassing surrounded clarisse, who's the answer to the question no one's asking because it's so blatantly obvious. why did you give yourself up to the drakon?, she imagined clarisse asking on her ride to manhattan, putting on a brave face and ripping the heart off her sleeve and replacing it with clarisse's fearless one -- maybe in some kinder or crueler world, she'd be able to tell clarisse you, you're the reason, you've always been the reason, you always will be. but the fates clip her string, steal life before silena ever really lived, and if she weren't in such mind blistering pain at the time, she probably would've smiled underneath clarisse's grecian helmet, rocking herself away to the shadowy underworld.
would mother be proud? what cause, after all, is more noble to die for, than true love itself?
it really isn't noble, though, it's cowardice. a goodbye without words, with silena attempting to rally clarisse to the fight, and clarisse saying no. there's a cruel irony in a child of aphrodite loving someone who will never truly understand love, too hard and too closed off to know what lies beyond the products of war -- that isn't her clarisse, though, the one that all the others see with war paint on her cheeks and her voice shouting victory. her clarisse sits with walls tumbled down, in whispered midnights, in pointed fingers up to the sky saying one day clarisse will be among the heroes they pay homage to.
and silena would be happy to watch. if the fates were kinder.
they aren't, and that much is obvious in now -- clarisse having to see her after the sacrifice, like this. she freezes for solid, tangible seconds before she comes to. ) Don't -- ( a single eye welted up in tears, she spins and faces the other way, hands slapping against her face. ) Don't look at me!
( call it vain, call it superficial, call it whatever you will. silena can't fight that she just doesn't want clarisse to see her like this -- wounded and marred, swollen with too much emotion to comprehend. when did she grow so out of touch with her heart? was it the moment she died or the moment she saw clarisse, looking at her as if the scars, the badinage, all the wounds in the world just don't matter? silena feels ugly, inside and out, incapable of holding a light to something that shines as brightly, brilliantly and perfectly as clarisse.
after a hard second, she looks over her shoulder with her good eye, wide and afraid. )
Did you slay it?
( did you survive?, is the point. because that's all that matters. )
no subject
I slaughtered it.
[ like venom on her lips, the words spit out of her mouth. yes, she slayed it, she dragged its carcass on the back of her chariot around manhattan, she screamed at the top of her lungs and cried and cut down anything in her path because silena died and clarisse let it happen and not even a drakon carcass, no number of monsters killed, could ever bring her back — ]
[ and yet. ]
[ and yet, somehow, by the fate of the gods, by luck, destiny, maybe all three, silena is here. she's here and she has to be real. they could both be dead, but it wouldn't matter as long as they were dead together and sharing the same afterlife. clarisse would gladly spend the rest of eternity in the depths of the underworld if silena was there with her. her life has never meant more than when silena was in it. and so the space between them closes like a door, clarisse moving across the room to stand only inches away, a shaky hand stilling to reach out and touch silena's face, fingers brushing gently over the scar. clarisse did this, not the drakon, and she can still feel the acid bubble beneath her fingertips, wishes it had been her instead. clarisse has always been ugly; what's another scar to an ares kid? but silena — iridescent, ethereal, luminous — she never deserved this, never deserved any of clarisse's ugliness, never deserved to be marked as a casualty of war. ]
[ but what would a daughter of aphrodite be if she didn't take that and make it beautiful? because all clarisse sees is beauty; it's all she ever has seen, since the first day she laid eyes on her. she keep her voice hushed but firm, a strangled string of words she tries to voice authority to. ] Silena, look at me. [ then, a little more desperately, barely more than a whisper, ] Please.
no subject
but clarisse steps in, presses her hand to silena's scar and she shudders away, ducks her head down and stays rooted in place. could she leave her side? no, not likely, even if she should. where's the fairness in asking clarisse to befriend a dead person? where's the fairness in any of this? the gods probably think they're being kind, giving them a second chance -- silena can't help but think the opposite, that there's no fate more horrible than letting clarisse see her after everything, the battle, the drakon, the death, the scar. silena shies away from her touch, pinpricks of circle tears hitting the floor. )
I didn't want you to see me like... this. ( this, monstrous, the words are on the tip of her tongue but she doesn't voice them, already knowing clarisse well enough to know that she won't hear any of it. that doesn't stop it from being the truth, even fatal, outer abnormalities aside -- monster comes from within, from forgetting her morals, from letting love, love for luke, outweigh her loyalty. spy, they should call her with hateful glances and spit on her grave, traitor, because that's what she was. she fears the underworld for all the wrongdoings she'd embraced during life, but.
she's a traitor to many things, but traitor to heart not among them.
a traitor to clarisse, never.
that's where the whole issue lies. if the question of silena or clarisse? arises, where one dies and one lives, it isn't a question at all because silena would lay down her life for her again, repeatedly, endlessly. there's a lot of regrets in her life, but her death isn't among them -- she'd die protecting what she loves, she'd die defending clarisse or her honor any day. to greece or rome, at camp halfblood or manhattan, her hero rides in the morning and comes back at sunset, her hero grows stubborn in the face of defiance, her hero slaughters the drakon five minutes too late, because silena is already gone. and her hero has to live with that.
not this. )
It should've been the last time. ( clarisse tells her to look, though, and silena is a slave to her every command, blue eyes flickering up while she keeps her head bowed, a hand moving up to cover clarisse's hand -- to touch her, sure, but mostly to cover the bad side of her face. ) At camp. This shouldn't have happened, I'm -- sorry. I should --
no subject
[ if you won't do it for them, do it for me. please, clarisse. ]
[ but they wouldn't be standing here if clarisse had agreed, if she'd just let it go and listened, instead of letting her pride, her hubris blind her, break her. a fatal flaw, they call it, but it hadn't been truly fatal for anyone but silena. some part of clarisse died with her, left an emptiness that could never be filled, not with grief or rage -- only now does she feel complete again, overcome with emotion that silena is here and real and hers once more. her other hand settles on the curve of silena's neck, firm but gentle, keeping her rooted, keeping her looking. clarisse never wants to stop looking, never should have. ]
[ with a tilt of her head, clarisse leans in, lips fit together as though they were born of the same being, finally coming together, two parts of a whole, and all clarisse feels underneath her is the humming energy of life, the brightness of silena's radiance almost blinding -- even with her eyes closed, clarisse can see everything, feel everything: the warmth of silena's lips, her breath, the outline of her mouth; and never before has she felt this enlightened, as if she truly is in the presence of a god, intoxicating herself on the precious nectar silena offers her. she could stay in this moment forever, but like all good things, they aren't meant to last. ]
Stop. [ it isn't harshly said, but there's an authority in her voice that wasn't there before. she doesn't want to hear the shoulds and shouldn'ts, the apologies -- shouldn't she be the one apologizing? i'm sorry i didn't listen, i'm sorry i was too late, i'm sorry i let you go -- the only thing she wants is silena, silena, silena. ]
[ she presses her forehead to silena's, like two magnets connecting, always meant to be together, her eyes squeezing shut to hold her tears back. daughters of ares don't cry (but they do; only last time one daughter of aphrodite wasn't there to dry them). ] Stop it. [ her voice is choked, her grip firmer than it was before. her eyes are strained when they open, her gaze steadfast despite the tears rolling down her cheeks. ] I don't care what happened. It doesn't matter. We were both -- stupid. But I won't let it happen again, I promise you that. I swear it on the Styx. I won't let you go. Not this time.
no subject
it's the first pang of regret, this kiss. the knowledge of what she always knew but could never name on her own, could never claim a heart as hers when clarisse was so dedicated to the fight, so in love with spears and swords and chris and chris and chris, that silena could never hope to penetrate that thick skull -- her death took it, this wake up call, this realization that silena is ephemeral, is replaceable, is not as eternally clarisse's as she might have thought. she is, though, if not in the physical sense than in every other one -- this battered and beaten heart of aphrodite that's been shattered and smashed in the ground into angry, splitered pieces -- it's clarisse's, it's all hers, no matter how broken it might be, she always holds the key to fixing it up. this touch, this kiss, silena gasps and cries against her mouth, eyes shut fast and her hands moving to grasp desperately at her shirt. she wants the words to be true, this promise on the styx speaking volumes of her seriousness -- but she knows clarisse, she knows her heart sometimes better than her own, and she knows these truths.
the war is always first in achilles' heart. patroclus will always lead him into the underworld, the story of tragedy never changes, and neither will theirs.
heroes are never born to be happy. )
Silly, silly girl. My dumb Clare. ( clare, her special, beautiful clare, who makes anger and rage beautiful emotions, who wears scars and hate better than silena ever could. her hands move up and cradle this too delicate face, the face of her warrior lost of its armor, walls broken down and tears on her face. it's heartbreaking, the beauty in it, how pretty it is to see clarisse, her clare, feel anything other than violent cockiness, to cry and be open and to be the one witnessing it.
she tips her head down, pushes kisses against her eyelashes. the hero looks beautiful when she cries, but it remains to be seen if there's anything more beautiful than clarisse's smile. )
Dying for love is never stupid. Never never. ( she doesn't want to say it, and she's sure clarisse doesn't want to hear it, but what would a daughter of aphrodite be if she couldn't explain her heart? silena quiets her sobs, puts on a smile through the tears covered on her ugly face, wishes clarisse wouldn't swear something so impossible on their most sacred of vows -- but she wouldn't be clarisse if she weren't impossible, if she didn't make life and death and love all that much more difficult. ) I'd die for you again and again, it doesn't matter. Break your promise and I'll still be yours, and I'll still be dead. That's our fate. It's okay. ( she curls in close, lips pushed against hers. that's our fate, for me to always be pining for someone who will never be mine. ) It's okay. It's okay.