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- !event,
- aelwyn abernant (d20 fantasy high),
- bucky barnes (mcu),
- kate cordello (original),
- mercy graves (original),
- zz_abel nightroad (trinity blood),
- zz_andrew jaeger (original),
- zz_caduceus clay (critical role),
- zz_ciel (tsukihime),
- zz_emily dyer (identity v),
- zz_goro akechi (persona 5),
- zz_jack townsend (tftgs),
- zz_jeff calhoun (original),
- zz_malcolm bright (prodigal son),
- zz_neal caffrey (white collar),
- zz_ren amamiya (persona 5),
- zz_stephen strange (mcu),
- zz_steven chen (original),
- zz_takashi shirogane (voltron),
- zz_thackery binx (hocus pocus)
Event - Lullaby
(cw: supernaturally-induced sleep/fatigue, supernaturally-induced sleep disorders/somniloquy, needles/injections)
The line between waking and sleep is beginning to blur. People will find themselves sleeping far too much, but it never feels like enough. The music is growing more prevalent and persistent throughout town. The effect is still weaker within the building, but as October wears on, more and more people are affected and ADI staff are more intent than ever to find the source and also figure out how to block the effects. Characters will find themselves conscripted (between Halloween Party preparations) into assisting with building or testing anti-music and sleep devices along or with helping to try to track down the source of the music.
For those helping to build and test devices, there is an R&D lab in the basement levels of ADI that will be available. Devices native staff have been able to devise include:
- Headphones that play different frequencies to try to cancel out the sound of the singing.
- An armband that periodically stabs a small needle into the arm with a small dosage of adrenaline.
- Headbands set to a constant low vibration.
For those helping to track the source of the music, finding it seems to be impossible, but there is a definite pattern that characters will note as the days pass. The epicenters of the music are moving, migrating out of the graveyards and converging on ADI Headquarters. As this goes on, the building will become less and less of a safe haven, the music penetrating its walls and affecting the staff there more heavily. You might find yourself having to help a neighbor who's fallen asleep while working. Or you might not even be able to fully tell they've fallen asleep as they sleepwalk and talk almost like they're actually still conscious. Even those who have never been prone to sleepwalking and talking may find themselves affected and… far more open with what they say when in the unguarded state of semi-unconsciousness.
(cw: supernaturally-induced sleep/fatigue, thanatophobia, character death, death by poisoning, blood, choking, emetophobia, death by crushing)
By the 25th, some people may find waking up to be a challenge in and of itself. But they do manage to wake up. Seemingly. Perhaps the day is much like any other, heading to ADI or out around the city, grabbing coffee and- something is wrong. Something is very wrong. That cup of coffee you just drank had tasted a little different than usual. A touch of almond to it? It hits you that your throat is burning, bile and blood rising up and choking you as you hack and gasp and vomit. Your legs grow weak, you're losing control of everything, falling, dying.
And then you wake up.
Just a nightmare. Just a bizarre and horrible nightmare. You head out and… is this home? You're home! Or maybe… wait, this doesn't seem right. Have you gone somewhere else? Some things might be familiar, memories intertwined and mixing with fantastical elements, some your own, some not. You notice people you recognize, ones who might be as confused as you are. This isn't where they should be and they remember dying, too. Or seeing you die or someone else. It doesn't make sense, but somehow, they remember they had a dream they shared last night. And then something falls from above and nearly crushes you or your partner. Or maybe it does crush them, and you're suddenly looking at a dead body as the world and this nightmare that feels so very real becomes more and more hostile. Maybe something falls on you.
And then you 'wake up.'
(cw: supernaturally-induced sleep/fatigue, thanatophobia, character death, body horror, detailed description of painful physical transformation, description of the loss and regrowth of teeth, violence, mental status alterations, temporary power-loss, spiders)
Even with people dropping left and right thanks to the odd sleep effect taking hold, ADI staff are hellbent that their Halloween party will not be completely ruined. And on the 28th (a little before the actual holiday), everyone wakes up. Or… seems to. For those trapped in dreams, it will seem very much that they've woken up, the music has stopped, and they can actually carry on. For a few days, it even seems like things are normal. The party on the 31st is a blow-out bash. The entire first floor of ADI HQ has been transformed with decorations. The canteen is serving festive food and has set up a dance floor with holiday-appropriate music playing. Some of the offices feature additional activities, including party games like bobbing for apples in a trough that's been brought in, a guess this gross food booth, and more general party games. For a quieter time, there are also areas set up with board games and card games to play. And for some extra fun spooks a mini-haunted maze has been set up with faux spiders and webs, along with other goofy-looking monster creatures.
It's around 9 PM when the music and lights suddenly cut out. There's nothing for several seconds. Then, a voice begins to sing, filling the halls of ADI. It's a young girl's voice.
"Bye-bye, bye-bye,
Quickly you will die,
On the morning will be frost,
And you’ll go to the graveyard, the graveyard.
Grandfather will come there, too,
And he will bring the coffin.
Grandmother will come along,
Her tears, they will not soften.
Mama sings the prayer song, then,
And falls down on her knees.
Daddy takes you to the grave,
No one can hear his pleas.
Bye-bye, bye-bye,
Quickly you will die,
On the morning will be frost,
And you’ll go to the graveyard, the graveyard.
As the last notes of the song fade away, all hell breaks loose. Those who had been wearing particular sorts of costumes, ones that are more monstrous in nature, may find themselves transforming, growing, twisting, shifting. It's not a clean change, but a violent, agonizing one that cracks bones, tears and reshapes muscles and tendons, pushes out teeth to make room for new ones. Those transformed will find themselves compelled to chase, to hunt, to kill anyone they can get their claws, teeth, or other appendages on.
For those who stay themselves, it's not just their transformed friends who pose a danger, but the decorations they've set up, as well. Those fake giant spiders and webs? They're no longer fake. Neither are any of the other demonic little creatures. The goal of everything in ADI and even outside for those who manage to make it out the doors, is to remind you how very, very mortal you are. Those typically possessed of fantastic abilities will find that they have been sapped away. There's no calling on magic or innate abilities. You are mortal and you are going to die like everything mortal does.
In the chaos, characters will catch glimpses of a young girl flitting amongst the chaos, seeming unperturbed by it all. Trying to catch up to her or speak to her is fruitless, but she's there, and she's humming that song from before.
(cw: supernaturally-induced fatigue/malaise, thanatophobia)
Those who are killed at the party will find themselves waking up wherever they actually fell asleep a few hours or even days ago. If your character was one of the lucky few who somehow managed to escape the effect, you'll notice people waking up all over ADI HQ and elsewhere. There are no signs of damage on the bodies, but those who died in the dreams will find themselves feeling incredibly weak and generally ill for several hours to several days after the experience.
The music has actually stopped, and this time, it would seem you've actually woken up. Depending on how long you were passed out for, that may be a more unpleasant experience for some than others.
There's a message posted from a random ADI employee's phone a few days later to the network:
Mr. S was right. This was fun! I'll have to come back next year to play with you. - Ava, the Lullaby Girl
P.S. Sorry for stealing your phone, horsegirl67. But I wanted to say, hi. C:
Unfortunately, there are no further messages and attempts to respond to the message will receive no reply for now.
But... fortunately…? All of the Halloween preparations are still up, and there's a festive party to attend if anyone actually feels keen on trying it in real life. Pam Ruan, the main organizer is bloody-minded about it now and will have her God damn Halloween party, but those who work themselves up to attend out of festive spirit or morbid curiosity will find it a distinctly muted affair that breaks early in the evening.
Happy Halloween, Gloucester!
- GENERAL - Players are welcome to play NPCs for themselves when they are needed in a thread. If you need more information on general behavior for these types of NPCs, please feel free to ask! In general, the information provided in the prompt should be sufficient and you're welcome to make up any details beyond that for your specific scene. The Lullaby Girl (Ava) can be seen throughout character dreams, but they will not be able to interact with her during this event. They will either wake up or simply find that the physics of the dream are warped and she cannot be reached or there's a sheet of glass between her and the character or whatnot.
- FOR YOU NEVER SHUT YOUR EYE (15-24 October) - Characters are welcome to develop their own devices for attempting to stop the music. Characters will have modern day technology available to them along with a few slightly more advanced electronics and tools. Please do not go too out there. This isn't Tony Stark's array of tools and the like. But characters can create additional devices to test within reason. Some of them may be more or less effective, but with how sporadic the effect is, it might be difficult to tell what's actually working or not. There can also be negative side-effects from devices, if you'd like to play those out. Characters with the appropriate magical charge may also attempt to supernaturally block the music, but this will not be condoned or facilitated by ADI. Characters searching for the source of the music will not be able to find it, just discover that it is moving. For characters who are sleep-talking, they may find themselves unusually honest. They may or may not recall conversations with other characters and all that they told them.
- TILL THE SUN IS IN THE SKY (25-27 October) - Characters will experience repeated nightmares of dying in a shared dreamscape. They will remember every time that they die in the dreams. Feel free to get as creative and gruesome with this as you would like. These are dreams and fantastical situations that might not actually happen (e.g., a robot showing up and shooting a laser through your character) may occur. Players are welcome to introduce elements of their memories into the nightmares and mix those memories around between characters who might wind up in a dream together. Please ensure all top-levels are appropriately tagged for any and all content warnings. Add content warnings as you go along, if needed. Dying in the dreams will trigger the sense of waking up. This can be a fake wake-up or characters might actually wake for a short while and find others passed out around them.
- WHEN THE BLAZING SUN IS GONE (28-31 October) - Again, this will be a shared dreamscape where characters will be under the illusion (at first) that all has returned to normal. For those who investigate, everything seems to be real, nothing too off, excepting the night of the Halloween party. Once the Lullaby Girl finishes her song, characters who are dressed in costumes that depict animals or other monstrous creatures may find themselves transformed into their costumes. Transformed characters may gain powers for the duration of this prompt/event related to their monstrous forms without mod approval. Go wild, kill your friends and neighbors, and generally trash everything around you. The decorations that come to life will be attempting to murder all characters, transformed or not. If characters escape into the city, they will find all of the festive decorations out there have come to life and want to kill them, as well. Death is unavoidable for this particular prompt, but it can be something swift and painless or something drawn out and horrible at player discretion. It is the only way to actually wake a character fully. Players also have the option of keeping their characters awake. They will not experience the shared dreamscape and will just be stuck with a lot of unconscious people around them for the duration of this portion of the event.
- WHEN HE NOTHING SHINES UPON (31 October) - Ava, the Lullaby Girl, cannot be contacted or immediately located, but she will be available in future plots for interactions with characters. There is no immediate information regarding who Mr. S. is. Players may have the general sleep/death malaise last for a minimum of two hours and a maximum of three days. Regular medications for the flu can ameliorate some of the symptoms, but they will ultimately clear up on their own. Characters may wake up in whatever state players would like. Feel free to play out the effects of them having been slumped in a corridor for three days without food or water. It's going to be a bad time all around. Those who attend the real Halloween party will be thanked profusely by Pam and showered with candy. At least they'll get a few HR brownie points?
Malcolm Bright | Prodigal Son | OTA
Open to B1 and anyone around the ADI offices.
The music hadn't bothered him much at home in the ADI complex up to this point, but lately... well. Malcolm has long had trouble telling whether he's asleep or awake when weird things start happening around him. It could be dangerous, if he falls asleep in the office or in the living room of the apartment or walking down the hall and goes into a night terror while he's unrestrained.
Till The Sun Is In The Sky
Open to anyone in the streets who wants a run-in with the serial killer known as 'The Surgeon'... aka Malcolm's father.
He's vaguely aware of dropping the coffee cup in the gutter, of falling, of hitting pavement. He's pretty sure he's scraped the palm of one hand, but it's a fleeting sensation as he feels his body shutting down.
Then his eyes snap open. He's laying in the street. Everything seems suddenly clearer and sharper than it has in a week. He frowns faintly. He sits up and glances around. A normal sunny day on the streets of the town. He pushes to his feet.
"My boy!" crows a delighted voice from behind him. His eyes widen and he turns. Martin Whitly, in his clothes from Vermont, but without the ridiculous blond dye job. Malcolm stumbles a couple of steps back. "My boy, fancy meeting you here!"
"What are you doing here?" Malcolm asks in a level tone that's attempting to mask the waver in his voice, but failing.
"I don't know," Martin admits. "But it's better than where I was, isn't it?" he points out with a grin.
When the Blazing Sun is Gone
Open to anyone at the party
Malcolm doesn't attend the party per se, but he's in the building and when the commotion starts, he heads down there. Monsters ripping people apart, screaming, blood, chaos. He glances around and grabs the nearest piece of decor, a cutout of a jack-o-lantern mounted on a one by two piece of lumber. He snaps off the jack-o-lantern, then adjusts his grip on the stick, ready to fight off whatever he has to if he can save some of the people trying to get out of the room.
When He Nothing Shines Upon
Open anywhere.
Malcolm feels like he's been fooled too often to really believe he's awake. He goes home to B1 and takes a shower. Puts on a clean set of clothes. Takes his knife out of the back of his closet and tucks it into the back of his waistband, under his sweater. He checks in with Meredith and Tim. He calls Neal. He goes for a walk around town. He wants to make sure Martin isn't still hanging around.
til the sun is in the sky
But as soon as he sees Malcolm, he lights up a little, smiling as he calls out to his friend.
"Malcolm! Hey! Wanna hear this song I... uh..."
Oh. Malcolm's got company.
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There's a stab of self consciousness, and he feels smaller, which isn't really helped by the fact that he's sitting on the sidewalk, and they're standing, so he has to look up at them. God, is he some social charity case for Malcolm? Jeff hugs his guitar a little closer, unconsciously, looking from Martin to Malcolm, just to try to get a sense of where his friend's at. Malcolm doesn't seem, like, nearly as excited as his dad does.
"I, um, I'm Jeff."
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cw drugs/addiction
CW violence
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For You Never Shut Your Eye
Ren gently places his hand on his shoulder.
"Come on. I'll fix you coffee."
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Feels redundant to ask, when nobody is getting a wink of peaceful sleep as of late. Ren guides the way to the canteen, making sure Malcolm is following so that he doesn't fall asleep and injure himself on the way.
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When He Nothing Shines Upon
Meredith is lying, and Malcolm can probably tell this. As usual, as always, she's stitched together with invisible thread and going through the motions. She's going to put the party back together, though--clearly that's what everyone needs now. And having something to do is better, right? Right.
But at some point, a couple days later, Malcolm might find Meredith on the back patio of B1, alone, staring at nothing at all. There's a wine glass in one hand, a cigarette in the other, both being ignored.
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“Is it a good vintage?”
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The bottle, sitting at her feet, is still mostly full. She's been out here for well over an hour, by this point.
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CW: internalized ableism and self-worth issues
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Till The Sun Is In The Sky
It's strange. One moment she had been at ADI with a severe case of the drowsiness and the next she had found herself at Any Beans Necessary. She doesn't feel so tired anymore but she doesn't chalk that up to being that strange. Kate has caught herself dowsing at work and has caught herself falling asleep in various places. If not for the smartwatch, she might have fallen asleep while crossing traffic.
Kate hadn't been planning on going into town but since she found herself at the coffeeshop, she put in an order for five coffees. Why not treat her fellow Administrative co-workers with caffeine? Her order has two additional espresso shots because she needs that boost. She is coming out of the coffeeshop when she sees Malcolm and his friend.
As they are standing by the street crossing, she has no choice but to acknowledge them. She could go back into the shop, of course, but then by the time she made it back to ADI her coffee would be cold. Kate had not planned on speaking to Malcolm today but there is that saying about the best laid plans of mice and men.
Kate approaches them with a polite expression on her face. "Malcolm." Her green eyes flash to the friend with him. She flashes another polite smile before using her elbow to hit the button on the traffic signal.
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Martin is not so neutral. He smiles brightly at her. “A lady friend; how delightful. I’m Martin. Who might you be?” he asks with interest.
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"Malcolm and I work for the same company." There. They are co-workers. That is how they know each other.
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Till The Sun Is In The Sky + cw injury, hallucinations, disassociation, and PTSD
• It hides the scrapes and swell of an impact to his head.
• It forces Tim to look ahead at where he's walking, only sometimes nearly-tripping over his own two feet. Those instances happen to coincide with the ghosts at his peripheral peppered here and there: Janet Drake with a sliced neck, Jack Drake pleading for a more competent son and with a hole in his chest, Stephanie Brown tortured and purple-skinned, Z and Owens bleeding, bleeding bleeding in that sand in Iraq
But this isn't Iraq, it's Massachusetts. And it's cold. And Tim keeps walking because, believe it or not, it's not... uncommon. For him to see those ghosts, sometimes.
In his defense, it used to be more often. So clearly he's been doing better.
• He doesn't want the gun on him, doesn't want it, doesn't know why it's there, but he's being hunted and right now he can't think of why he shouldn't continue to hide. The gun. Himself. The hood helps him hide. Tim keeps the hood up.
And he's so in his own head (and at the same time, not) that he honestly just about knocks into
"Martin Whitly, right?"
But his question is for Malcolm, because Malcolm has to be real, is always a concrete thing in this new life. Even with a hell of a headache, Tim can... hope. Not... trust, exactly, because he steps back once (twice) to observe the strange man better.
Kill two birds with one stone:
• if Whitly (the killer) is a hallucination, then Tim can say something about... curiosity.
• if he's not... then he's not. And Tim's not crazy.
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Malcolm is a little hollow when he looks at Tim with a shallow nod.
“Run for your life,” he whispers.
Martin laughs. “My boy, don’t be so dramatic,” he admonishes with a chuckle. He looks at Tim. “He gets that from his mother,” he points out almost apologetically. “But clearly he’s mentioned me. All good things, I hope!” he suggests cheerfully. “And you are?”
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Like they'll be a literal united front this way. Or something.
It's the least he can do for blatantly disregarding orders. Not that Malcolm's ordered anything. The suggestion was appreciated. But there's a fury in Tim's chest that he's felt before. Whitly's demeanor is a kick to his side.
"I didn't kill Harkness," Tim confesses. To Malcolm. And it sounds like a confession and like he, himself, is faraway. "But I could have." It's not him in a way Tim's ever gotten the time to wrap his head around, this young... adult, who knows more funerals than friends.
Tim remembers the gun on his person. Must be the concussion.
It'd be easy. He's always known that, though. That's not the... question. "Malcolm? What's going on?"
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cw daddy issues jk jk
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cw violence wooo
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Till The Sun Is In The Sky
Then he hears that voice.
Saying those words.
He puts his hand on his gun and whips around, forcing himself not to sprint to Malcolm's side. He prowls there instead, reaching his kid just as Martin gets... well, closer than Gil likes him being. His scalp prickles with the fresh realization that Martin isn't cuffed, isn't restrained. None of the people around them know who this man is. What he is.
"That's far enough," he says softly.
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"Gilly! The three of us together again; what a team!"
"Gil, no," Malcolm pleads in a broken little whisper. It's not himself he's afraid for. Martin has a buffet of choices of victims here. Including some he's wanted to kill for a long time.
Well. One, anyway.
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He's got his cuffs on him, still, at least. He's carried them, his gun, and his badge like little protective amulets. Reminders of sanity, of home. The question is how to get the cuffs on Martin without taking a blade, improvised or otherwise, to somewhere fatal. Gil shifts to make the hand on his gun a little more obvious. "Take one more step toward Malcolm and you're not going to like the results."
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GASP, ANOTHER ONE FOR MARTIN???
He brightens when he sees Malcolm, until he sees Malcolm's own expression. The way he's holding himself. Neal would have to be blind not to see that Malcolm is significantly upset, and he's definitely not blind.
Neal approaches from the side, making himself clearly present in Malcolm's periphery so he won't startle the other man. He touches Malcolm's shoulder lightly when he's close enough to do it, giving him the most reassuring smile Neal can manage. "Fancy meeting you here."
He turns to look at the newcomer, his face still open and curious, though the friendliness has folded itself in with curiosity. "You two know each other?"
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Martin doesn't miss what Malcolm is clearly trying to suppress. The way his face lights up when he sees Neal. The way his skin flushes just a little.
"Well, hello, I'm Martin. I'm sure he's told you about me," Martin says coyly.
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"I've heard a bit. Neal Caffrey."
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When He Nothing Shines Upon
He can't keep hiding. He knows it, even if he is wildly paranoid about what will happen if he reaches out to the people he knows here again.
Still. He's out in town when he finally manages the call.
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“Neal. Thank god.”
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"Malcolm," he says, and the thank god is very clearly implied. "Where are you? Are you at the apartments?"
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