INTRO LOG #2

[bequiet]

INTRO LOG #2
Put a Sock in It
Content Warnings: Disorientation, memory loss, confusion
Themes: Arrival, survival, exploration, horror

You wake, standing. A thick, muddy red dust coats your skin and clothes - it sticks to your tongue and blocks your vision. Inhale and it chokes you, exhale and your breath puffs out in front of your face in a transparent maroon cloud. It tastes of copper, tangy and harsh. Movement is difficult, every limb tingles and aches. Look to your left, your right. Evenly spaced in each direction stands another person indistinguishable in every way from the next. You're disoriented and lethargic, unable to grasp onto a single thought. A pinprick of light blooms ahead and grows steadily larger; a door has opened.

Hands grip your wrists, push at the small of your back and guide you out of the darkness into a room with four walls and a thin, sagging ceiling. The plaster is peeling, the air is musty, and the floor is slick. White plastic piping juts up from the center and curves into multiple spouts, clean water flowing in uneven streams. Those hands pull your clothes off and clear the dust from your body, redress you in handsewn jumpsuits. By the time they’re through, you will have begun to come back to yourself.

A finger is pressed to your lips. Kind eyes meet your own and a single word is whispered - hush.

Led out of the room in a line, you’re taken down a short hallway and into another, much larger room. There’s a woman waiting for you there, a child hugging her leg, and a cloth bag in her hands. She reaches in and pulls out a device, passes one to each of you. Once finished, she begins to move both hands in graceful gestures, a language. One of the people who helped you lifts their device and the screen lights up, tracks the woman’s hands. Letters appear on the screen and you understand the device’s purpose. She tells you what she knows and it’s not much.

This world is haunted. Noise attracts them, so it is not allowed. Communication is through body language, soundless writing, and the device. She tells you that your feet must be light and your mouth never used. There is a community outside these doors, where you can survive together, but only if you agree to one thing: complete and total silence. You'll have time to talk it over. You may ask one question and receive one answer.

Acceptance allows you to journey outside. The ground is marked in pathways of sand, lining the paths to each building and everywhere in-between. You notice that the locals hold their devices always, aloft and glance to it often. It will not vibrate or make a sound to signal a message. Notices appear. Rules. Guidelines. Feet on the sand and never anywhere else. To open a door you brush your fingers along the hinges - oiled and you may enter. If not, take the brush from the can sitting nearby and coat the metal with the dark liquid.

Now, you're to settle into your new home – with or without the help of those who have come before you.

The Place Inside
Content Warnings: Disorientation, hallucinations, body horror
Themes: Plot, exploration

Have you been to hell. And more importantly, have you been back. We all know this pain but are too scared to recall. This horror controls us, pulls at our strings to ensure how our life plays out. So, let me rephrase my question: have you been to Ile Lacrox. And more importantly, can you come back.

In the community, if you hear something you're not supposed to hear, you learn to look the other way. If you see something you're not supposed to see, you pretend it never happened. If you feel disappointed, you learn to never ask for more. So, through good times and bad, famine and feast, the natives held fast to their rules until one common day a sly wind blew in from the south...

That same red dust twists through the streets, curling up in faint, little plumes of familiarity. The farther south you go, the thicker it becomes. Those willing to explore far enough will find it coming from an island in the middle of the river. Once there, doting every available surface is the evidence of Sound Eater births, and the closer you are to the island, the harder it is to avoid being coated in red. Even if it's not rubbed into the skin, it doesn't take long for the effects to take over. Every sound is amplified. Your breaths are deafening, the slightest step echoes. But no Sound Eater attacks. Your vision blurs, and it's as if your mouth is sealing itself shut. Those you traveled with seem to be similarly affected, and you know you have to be quiet. Anyone who brought supplies with them might discover that a drink of water subdues the symptoms.

OOC: Only characters who entirely submerge themselves in water will be free of the dust effects. Just remember that noise will attract Sound Eaters.


Liplocked
Content Warnings: Violent tendencies, mind alteration
Themes: Love, romance, obsession, sex

The natives are of French origin, and with that comes a love of romance. Residents will find treats and valentines at their doors. That same night, there will be a small, red-glowing fire built near the fountain. There will be jars pressed into the dirt and filled with a sweet, red liquid. Some natives can be seen drinking it and being very affectionate with one another. Anyone who drinks this is inspired to show endearment or lust to others, and it will wear off after sleeping.

There's also the noticeable addition of a new arrival. They came through the Reset Room just like everybody else. They understand the rules and follow them to a tee. They are the perfect example of what the natives want in their residents. They are charming and captivating. They say nothing, and they don't have to. When your eyes meet, you feel seduced. There's a nervous flutter in your stomach. You can feel your heartbeat in your throat. Pounding, constricting. They smile and then turn away.

As they're walking, you notice you're not the only one looking at them, and in their expression, you see your own mirrored. What started as sweet infatuation and longing dissolves into a jealousy unlike any you've ever known. All you understand now is that to win their affections you have to come out on top—so you're the only one they see. Your actions are not your own, but they're still yours.

OOC: There are two ways to break the "spell". Your character fights it out with someone else who is feeling the same way OR they're approached and physically touched by someone who isn't affected by the newcomer. A third of the community will be completely unaffected (everyone else is affected unless the player is uncomfortable with playing out the scenarios). The newcomer can be of any gender the player wishes. For those partaking in drinking, the players can choose what effects it has; it can inspire feelings of lust or boost paternal/maternal instincts or devotion towards friends.

OOC
From your mods:

Please be mindful of content - if something triggery comes up or if it goes up a rating to say, something sexy, mark your threads in the subject line. We're very flexible and allow any material; we just want our players to be respectful of each other. If you have questions, pp the mod account, use the faq or comment to the appropriate post below. Have fun!

NAVIGATION

---

Comments

[flyguy]

[Reading that... Uh. Well that doesn't sound good. Why does the name sound familiar...]

Jones. Did that murder at the Hudson ferry terminal? Sorry. “Assisted suicide”. That Jones?

[He'd done some looking into it for reasons that escape him entirely right now (memo to self: get FRIDAY back from the locals as soon as possible). He hadn't been able to follow up much for reasons...entirely of his own accidental making. Sort of. At the least what happened in Sokovia had never been his intention.]

How are the natives handling it?

[kiljoy]

[He nods. Yep, that's the one. Kilgrave has no idea what happened after that because he woke up here, but he's taking a gamble that there would only be limited details in the news after a month. Clearly Stark heard about it.]

The natives aren't handling it. They won't dare risking trying to subdue someone like Jessica. It's too dangerous for them, they don't come back like we do.

[So yeah, that sucks.]

[flyguy]

[Makes sense. But that's not exactly worded like an uninvolved party, either. Tony's antsy to get going. Doesn't have time for this. He needs to get an handle on the bigger situation. Get back. Since the moment he realized this isn't his Earth (parallel, future, trauma dream, doesn't matter whatever the “truth” is) tension has been crawling under his skin. He needs to get back. Prepare. Earth, their Earth, isn't ready for what's coming. Not yet.

So it's a bit frustrating to have to slow down and deal with homicides. But he kind of gets the feeling if he tries to walk off this guy is going to be a royal pain. He forces himself to shift his focus back to the man in front of him.]

She threatened you?

[It's the obvious guess. He may be self-involved, but he's not an idiot. Mostly. off to the side the studio audience laughs]

[kiljoy]

[Threatened him and more. Kilgrave nods again, expression grim.]

She murdered me. I'd recommend staying away from her.

[He's not asking for help. He suspects Stark is the kind of guy who is more likely to do something if he's told not to.]

[flyguy]

[So. That might just up the ante. A bit. Tony looks the other man over.]

Seems like you bounced back. Have a name?

[kiljoy]

[Kilgrave grimaces. Yeah, bounced back is one way of putting it.]

Death doesn't seem to stick here. Lucky for me. Not so good for dealing with people like Jessica.

[Oh, and he almost forgot to say his name. He adds it a second later:]

Kilgrave.

[flyguy]

Undoubtedly. Aren't you one of her victims from our side?

[The name does strike some bells. When he gets FRIDAY back he'll ask for more details. He could go on here, but...]

I'll take care of it. No thanks needed. It's what I'm here for.

[Not really, but “nobody cares about your death” is kind of callous. And he does care. On some level.]

[kiljoy]

[He nods. Yep. So Stark did hear some news about it. But then he says he'll take care of it, just like that, and Kilgrave raises his eyebrows.]

You will? How?

[flyguy]

If I tell you then it's no longer confidential.

[A pause.]

Will you move. I do have places to be.

[Despite just getting here. Parts don't collect themself!!!]

[kiljoy]

[Really? Kilgrave shakes his head, then types a quick message before stepping aside.]

Walk and talk.

[It's a little slower using the device while he's walking, but not that much. He still has questions.]

No reason for this to be confidential. Jessica has super strength and you currently have nothing but a jumpsuit. I know what she can do. You won't find it easy to stop her.

[flyguy]

[How come none of his misadventures start out with reasonable people just doing what he tells them? In his defense he didn't even threaten a known terrorist this time, he's not sure this is deserved. He keeps a speedy pace for the residential area he'd been told about before leaving the “arrival suite”. As speedy as trying not to make a sound walking on sandpaths can be. It's a surprisingly good click.]

Unhunh. I've heard better sales pitches. But keep going.

[He's attempting to be understanding here. Even if he intensely dislikes appeals to change his mind after he's made it clear a subject is closed. If someone killed him he supposes he'd be desperate too. Potentially.]

[kiljoy]

[He's not used to doing sales pitches. People usually do what he says. But of course he can't say that so Kilgrave merely frowns.]

Not a sales pitch. All I'm saying is don't get yourself killed. Even if Jessica doesn't get you, the Sound Eaters will. What are you actually going to do?

[flyguy]

[“The Sound Eaters will.” Tony stops. Looks Kilgrave over. Not sizing him up, but rather like a mechanic looking over every part of a machine in front of him and judging whether it's worth the trouble. It's an wholly dehumanizing moment and maybe it's not so hard to understand Tony is the height of functional dysfunction it's not the mechanical suits that make Tony Stark Iron Man.

There is a distinct pause.

He does so hate when others pronounce his death.]

Death doesn't seem to have turned out so badly for you. You want Jessica to pay? Not be able to terrorize you anymore? Safe streets, happy homes and all that.

[He's assuming this is petty vengeance. Or maybe not so petty. Kilgrave did die. Supposedly. He wasn't here to judge, but stranger things have happened.]

Why don't you tell me what you and Miss Jones were doing on that ferry terminal.

[It's a completely unsubtle dig that what he does about Jessica can just as easily be turned against Kilgrave. He's not so brainless he thinks this is a black and white situation. And he bets Kilgrave won't want Tony digging into Kilgrave's side of the dispute. Kilgrave probably won't come out smelling like roses.

...But also not really thinking there's anything more than the usual seedy dealings there, so. W e l p.]

[kiljoy]

[Kilgrave isn't particularly fazed by this; it's how he looks at most people. He shrugs at the question. Yes, of course he wants Jessica to pay. But Stark swooping in without a plan seems guaranteed to end badly.]

I was catching a boat. Jessica was there to kill me.

[And that is 100% true, so he can write it and look Stark in the eye without an ounce of guile.]

[flyguy]

[He watches Kilgrave, but there's not much to read there. At his side his fingers tap at a nonexistent UI, mentally counting down.]

Let me guess: you went in through the exit and she took offense. Natural enough. Those turnstiles get people all the time.

[Right? How about no. Regardless, that's beside the point. Tony doesn't have a dog in this race. Jessica, Kilgrave, right, wrong. That's not his job. In fact he has a...rather depressing track record in that regard. Ahem. All that matters to him is no one from Earth, their Earh, is going around abusing super abilities and making a bad situation worse. It'd be very easy to turn this settlement into a massacre, would take him half an hour and that's being generous on the estimate. Nobody needs anyone running around being irresponsible.

There's a moment of staring Kilgrave down, but then Tony looks over towards other new arrivals and natives walking to houses. The clock's ticking. He needs to get moving.]

We're done here. I'll contact you after I'm finished with Miss Jones.

[And just like that he turns to leave.]

[kiljoy]

[Well, no. Obviously. He doesn't much appreciate the levity and gives Stark a look in return, mouth thin. Then he turns to leave and Kilgrave doesn't stop him. If Stark wants to get himself killed, fine. He can't say Kilgrave didn't warn him.]