If you had to populate a sitcom with M:EM characters, what would be your main cast?
I have, on two separate occasions, tried to plan out an M:EM sitcom set in a high school with the various M:EM characters being either students or teachers. In the most recent iteration, the "main characters" were Daneera, Beryl, Aloise, Sharaka, and Aria. It never got past the planning stages.
Holy Joker, I'd like to know more about this so much
Are you planning to introduce new planeswalkers to the M:EM?
I don't know about you, but I'm starting to think this Raiker's not a very nice fellow...
Really? He seems so polite and charming...
Strange, I know. It's really just an inkling.
Also, doesn't "Inkling" sound like a perfect little elemental creature for Raiker to control? A little Ink Elemental that serves as his homunculus or something.
Inklings
Sycophantic Inkling - Creature - Elemental Minion Sycophantic Inkling enters the battlefield tapped unless you control a Raiker planeswalker. , : Put a counter on target permanent you control. "It does not speak, but its obedience has a sort of rhythm to it that is almost poetic." - Raiker Venn 1/1
Tragic Inkling - Creature - Elemental Minion At the beginning of your upkeep, put an Ink counter on Tragic Inkling. Sacrifice Tragic Inkling: Search your library for a card with converted mana cost X or less, where X is the number of Ink counters on Tragic Inkling, and put that card into your hand. "They exist to suffer and eventually perish. Like all of you, really." - Raiker Venn 1/2
Creative Inkling - Creature - Elemental Minion Whenever a player casts a spell that does not share its name with a card in any graveyard or on the battlefield, put an Ink counter on Creative Inkling. At the beginning of your upkeep, if Creative Inkling has thirteen or more Ink counters on it, you may transform it. "Sometimes, you get just a little creative inkling..." - Raiker Venn 1/1
\\\\\\\\\\\\\\\\\\\\\\\\\\\\
Blackblood, Avatar of Ink Legendary Creature - Elemental Avatar Hexproof Whenever a player casts a spell that shares its name with a card in any graveyard or on the battlefield, Blackblood, Avatar of Ink gets +X/+X until end of turn, where X is the number of Ink Counters on it. "...and sometimes, that inkling takes on a life of its own." - Raiker Venn 2/2
If you had to populate a sitcom with M:EM characters, what would be your main cast?
I have, on two separate occasions, tried to plan out an M:EM sitcom set in a high school with the various M:EM characters being either students or teachers. In the most recent iteration, the "main characters" were Daneera, Beryl, Aloise, Sharaka, and Aria. It never got past the planning stages.
Holy Joker, I'd like to know more about this so much
If people are actually interested in this silly thing, we can start a thread about it. I'll be happy to post the roles I've come up with and we can play around with it. Could be fun.
Are you planning to introduce new planeswalkers to the M:EM?
My roster of planeswalkers is more than large enough as it is...
So...yes. Yes I am.
I have a few in mind that I would like to get out there. There's one I've been working on for, I'm not even sure, two years? Maybe three, by now? It's just that every time I sit down to write the story, it just doesn't quite come together. Maybe this summer, I'll make a push for it.
I have another 'walker who predates all of my M:EM stuff that I've been meaning to add for a very long time, but I just haven't found the right time for. This character was meant to be a potential antagonist for Antine and Sundar, but with them sort of stuck in writer's block limbo, the new character hasn't had the opportunity to emerge yet. Plus, this particular character's "planned" story is super-ambitious, and I just don't have the time these days to invest in something like that, yet.
And there are a couple more that have crossed my mind from time to time that might one day get a full development.
Joined: Sep 25, 2013 Posts: 12516 Location: Kamloops, BC
Identity: Male
Creative Inkling Creature - Elemental Minion Whenever a player casts a spell that does not share its name with a card in any graveyard or on the battlefield, put an Ink counter on Creative Inkling. Whenever a player casts a spell that shares its name with a card in any graveyard or on the battlefield, ~'s base power and toughness become equal to the number of Ink counters on it until end of turn. "Sometimes, you get just a little creative inkling..." - Raiker Venn 1/1
I think the design's more elegant this way. May as well have it do it's thing from the start. It can die immediately if the wrong card gets played, but I think that's kind of reflective of the creative process. Maybe the flavour text should reflect that it could grow or wither away? Actually, the whole thing should really be red. What color ink does Raiker use? Not sure why Blackblood was an Avatar before, so I didn't make this one.
*"To YMTC it up" means to design cards that have value mostly from a design perspective. i.e. you would put them in a case under glass in your living room and visitors could remark upon the wonderful design principles, with nobody ever worring if the cards are annoying/pointless/confusing in actual play
I have, on two separate occasions, tried to plan out an M:EM sitcom set in a high school with the various M:EM characters being either students or teachers. In the most recent iteration, the "main characters" were Daneera, Beryl, Aloise, Sharaka, and Aria. It never got past the planning stages.
Holy Joker, I'd like to know more about this so much
If people are actually interested in this silly thing, we can start a thread about it. I'll be happy to post the roles I've come up with and we can play around with it. Could be fun.
The train to Fortune's Folly was shaking, and so was its only passenger. With her left hand, Scar gripped the back of the seat in front of her, trying to steady herself. With her right, she covered her chin and her mouth, her index finger lightly tracing a prominent scar just below her cheek. Tears threatened her blue eyes, but they never broke through. She wouldn't let them. She had no time for tears now, even with the long train ride. She needed that time to think.
She had not planned on returning to Red's Ranch so soon. She knew she would visit, of course, but she could not go running back every time some little problem came her way. But this was hardly a little problem, and Scar needed advice. Jackie had taught her so much, but she hadn't taught her this.
Oh, she had talked about it. She had talked about the men of the Waste and what they would want. She had talked about how to avoid it and how to use it to your advantage. She had talked about what was normal and what wasn't and how little the distinction actually mattered, and she had said that it was okay to want it, too. She had talked about consequences, and caution, and how to get out of a bad situation before it was too late.
Unfortunately, Scar noted, she had never talked to Scar about what to do when it already was too late.
Scar shook her head, more violently than she had intended. She had been stupid, that was all. She thought about him, then. He was a centaur, another young Ridder name of Straight, on account of his card playing. Growing up, Scar had rarely been allowed to leave her house, and had never thought much of the boys. And at the Ranch, all the other kids were younger than she was, and more like brothers and sisters to her. So, after leaving the Ranch, Scar had not considered romantic aspects of life.
Then she met Straight.
He was, simply put, dashing. His long, black hair flowed in the wind, his beard was short and trimmed against a hard, handsome face, and his physique was that of a chiseled warrior from an antique, forgotten time. More than anything, though, he was kind. Scar was only on her second rid, and Straight was on his third, when they first worked together, and they worked well. They decided to pair up, and ran through two more successful rids, the second one without any other backup. Straight was easy to work with, easy to talk to, and easy to get along with. Eventually, their pairing led beyond work, and Scar was happy.
Until, that is, she discovered she was pregnant.
When she told Straight, he was momentarily shocked, but then back to his usual, jovial self. They stayed together for another month before Scar woke up one morning to find Straight gone. She waited a day, and then two, and then three, but he never came back. Scar knew he wouldn't instantly, but she waited anyway, partially out of hope, but mostly to give herself time to think. She did not have enough money to support a child, and her only way of making money was to Rid, which would soon and for a long time be impossible. And she would not, could not, risk giving it a childhood like she had had, or like Jackie had.
And that left her with only one choice. She would have to go running back to Red, running back to the Ranch. She had left to find her own life, and her own life had brought her straight back.
At least, she thought, I can teach the kids something even Jackie couldn't.
As she thought about it, Scar finally began to cry.
He only had time for a short visit. There was much to be done, and he knew that she would understand, because she always understood. Her schedule was no less crowded, of course, and probably even more so. The demands on her time were extensive, he knew, and there was always the chance that she would be unable to make time for him. He smiled warmly. She was always able to make time for him, even if it was only a few short hours, or a matter of minutes. A coin has a particular value, two of the same coins are worth twice that, three are worth three, and so forth. But being together could not be thusly measured. It didn't matter how many days or hours or minutes there were. The value was just in being there.
As he always did when he visited, Nasperge appeared from out the aether into a spot directly in front of House Trevanei's gate. Above him fluttered their banners, the eye with the flame staring at him like an audience. Only a few moments passed before one of the guards noticed him and opened the gate. Although he did not know the guards personally, they had come to know him by his garb, and the High Sorceress had left standing orders that he should be admitted immediately no matter the time or day or circumstance. The guard led Nasperge to the door of the estate, where he was met by an attendant, who led him directly to Moira's room, where she was waiting for him.
The High Sorceress rose to greet him as he entered.
"Nas!" She closed the distance between them and leaned in to kiss him. Twice. Once on each cheek. "I did not expect you. I would have made myself more presentable."
The Magician grinned in spite of himself. Moira was, as always, radiant, and Nasperge could not conceive of a single thing that could have further added to her beauty.
"I cannot stay long," he warned softly. "I will be travelling for a while, and I thought I should stop in first, because I do not know how long I'll be gone."
Moira nodded her understanding. "That was very thoughtful of you, Nas. Where will you be travelling?" Her eyes were smiling, because she knew how he answered direct questions.
"A plane called Cartrevard. I believe I have found a door there."
For a moment, Moira was too stunned to speak. And Moira Trevenei was never too stunned to speak.
"Nas!" She said as she finally regained her composure. "Nas, in all the years I have known you, you have never answered a question straight, let alone volunteered additional information!"
"It's my greatest trick," the Magician said, smiling widely. "And it's the only one I've ever played that truly left you astounded."
"I don't know about that," Moira said, "but I'll admit to my surprise. Of all the things I know you are, and all the things I suspect you of being, I never once thought you would be apparent."
"Well," Nasperge said with a sigh. "Sometimes these things just happen."
And then he was gone.
My head, it e'splodes!
* * *
Actually, that leads me to a question about Nasperge, which is essentially the same question I had about Alessa earlier: What do you think Nasperge really wants? There has to be something that he's been chasing after all these years, or else he would just be living the quiet carnival life someplace. What's still driving him?
Tryst has some really fascinating hooks that make her an interesting character, and I have some ideas for some stories involving her that I think might work pretty well. Not to give away too many trade secrets, but Orcish and I have batted around some of those ideas, and we have something that I think will work, but it needs some work to really take shape. Hopefully someday soon!
Hopefully, indeed!
Frankly, I don't feel like I've been able to do justice to Tryst, myself. She fascinates me -- fixates me, almost, for lack of a better way of putting it -- but she also kind of eludes me. She's so defined for me by her contradictions, but the same thing that makes her interesting also makes her hard to pin down. And so much about her is centered around her self-loathing, and it's hard for me to stare that straight in the eye for too long at a time, because it hurts to see. So I have to kind of take her in small doses, which makes it too easy to not write with her at all. I'm going to have to rectify that at some point.
God, do I hope she gets her happy ending someday... The little non-canon story about her sending her daughter off to the prom makes me so happy.
_________________
"And remember, I'm pullin' for ya, 'cause we're all in this together." - Red Green
OK, I haven't been pitching much to these but here's an odd one that kind of ties in to how I work: Do you ever listen to music when you write, and if so what? And, independent of that, do you ever find yourself associating songs with the characters you create, and if so what are some examples?
_________________
"Enjoy your screams, Sarpadia - they will soon be muffled beneath snow and ice."
It seems to me that Jackie might have one more lesson for Scar. I picture Scar sort of hemming and hawing about the whole thing when she gets to the Ranch, and then, after the story's out, Jackie may have a thing or two to say about shooting Straight...
Actually, that leads me to a question about Nasperge, which is essentially the same question I had about Alessa earlier: What do you think Nasperge really wants? There has to be something that he's been chasing after all these years, or else he would just be living the quiet carnival life someplace. What's still driving him?
Well, one of the ways I said I could answer questions here is by writing a story, so...
Spoiler
Nasperge disappeared.
"Ugh," a girl's voice sounded. "Was that Magician here again?"
Moira sighed. "Yes, Astria. My friend was here for a visit."
Astria rolled her eyes as she stepped into the room. At the far end, Beryl knelt, playing with fervent, childlike intensity with two small dolls and facing away from her sister and her mother. Astria barely noticed, and instead plopped down on large, soft chair across from Moira.
"I don't get it, mother. He shows up every once in a while, whenever he feels like it, and you treat him like he's family. I mean, honestly, what does he want?"
Moira was about to scold her daughter, gently but firmly, but there was something in that question that caught her suddenly. While Astria's question was hardly asked in the spirit of exploration, Moira couldn't deny that it was a good one. She had known Nasperge for a long time. Sometimes it seemed like she had known him all her life. And yet, there was so much that she did not know, and the answer to Astria's question was perhaps the greatest of all the Magician's mysteries.
"It's impossible to guess," Moira found herself saying, her voice growing distant. "There are times when I think that I know, when I can almost see it, like a gem that glitters in the dark, or the face of a stranger through a veil. But then, a moment later, it's gone again, a wisp of smoke vanishing into a stormcloud."
"Ugh," Astria groaned, rolling her eyes again. "In other words, you don't know."
And once again, Moira sighed. "In other words, Astria, I don't know."
There was a long silence in the room then, as neither mother nor daughter looked at one another. Then, suddenly, the silence broke.
"He wants to be happy."
At the same moment, Astria and Moira turned to Beryl, who was still engrossed in her game. She hardly seemed aware that she had spoken. In her left hand was her favorite doll, a female doll with bright red hair. In her right was a new doll, a male with dark hair, its mouth set in a straight line, neither smiling nor frowning.
"What was that, sweetheart?" Moira asked.
Beryl looked over to her mother. "He wants to be happy," she repeated, then turned back to her doll. "He wants to hold on, but he can't."
"Beryl, what are you..." Moira began, then noticed the dolls. Beryl was trying to get the male doll to hold hands with the female, but his hands were not shaped right. He could not hold on.
"That's why he doesn't smile," Beryl explained.
Moira found herself grinning at her younger daughter. "Then why doesn't he frown?"
Beryl shrugged. "They still get to be together." The little girl held up the dolls and moved them close, as though they were hugging. Their arms could not wrap around each other, but they were close. Moira's eyes danced as she watched her daughter.
"That's dumb," Astria said, moving to stand. "Grow up, Beryl." With a toss of her head, Astria moved out of the room.
Moira stood up as well, but moved over to Beryl, knelt down, and put her arms around Beryl's shoulders. "Please don't," she said, and kissed her daughter on the top of her head. "And I think you're right." She reached down and, as Beryl held on to the two dolls, Moira grabbed their little cloth hands and pressed them together. She knew it would not stay that way for long, but it was that way for now, and that was all the mattered. "He wants to be happy."
OK, I haven't been pitching much to these but here's an odd one that kind of ties in to how I work: Do you ever listen to music when you write, and if so what? And, independent of that, do you ever find yourself associating songs with the characters you create, and if so what are some examples?
I do often listen to music while I write. I like writing with some kind of noise in the background. I usually have it on very low, so that I can barely hear it, because I am unapologetically one of those people who sings along to songs, so it can get distracting at times if it's too loud. My taste in music is somewhat eclectic, but mostly 60s, 70s, and 80s Rock and some 90s alternate stuff, I guess. Occasionally, I throw in some Irish folk music, but usually not as much while writing.
I tend to associate songs with characters only if the character had been created as a reference to that song. Antine will always be linked to the Beatles' "Rocky Racoon," of course. Sage is linked to the song "Seven Spanish Angels," by Ray Charles and Willy Nelson, because his intro story was based on that song. I associate Blink with a song I discovered by accident, a song called "Just Close Your Eyes," by Waterproof Blonde, because my reading of that song heavily informed the plot of "Seeker's Point." And Jade, I guess, is associated with Tom Petty's "American Girl" and Guns N' Roses' "Sweet Child o' Mine" because those two songs helped form "Promises, Promises."
And Jade, I guess, is associated with Tom Petty's "American Girl" and Guns N' Roses' "Sweet Child o' Mine" because those two songs helped form "Promises, Promises."
And Jade, I guess, is associated with Tom Petty's "American Girl" and Guns N' Roses' "Sweet Child o' Mine" because those two songs helped form "Promises, Promises."
And yet no mention of Naked Eyes...
I forgot about them. I guess I needed something there to remind me...
It seems to me that Jackie might have one more lesson for Scar. I picture Scar sort of hemming and hawing about the whole thing when she gets to the Ranch, and then, after the story's out, Jackie may have a thing or two to say about shooting Straight...
I have thoughts about this! Which will have to keep for at least another day...
"Ugh," a girl's voice sounded. "Was that Magician here again?"
Moira sighed. "Yes, Astria. My friend was here for a visit."
Astria rolled her eyes as she stepped into the room. At the far end, Beryl knelt, playing with fervent, childlike intensity with two small dolls and facing away from her sister and her mother. Astria barely noticed, and instead plopped down on large, soft chair across from Moira.
"I don't get it, mother. He shows up every once in a while, whenever he feels like it, and you treat him like he's family. I mean, honestly, what does he want?"
Moira was about to scold her daughter, gently but firmly, but there was something in that question that caught her suddenly. While Astria's question was hardly asked in the spirit of exploration, Moira couldn't deny that it was a good one. She had known Nasperge for a long time. Sometimes it seemed like she had known him all her life. And yet, there was so much that she did not know, and the answer to Astria's question was perhaps the greatest of all the Magician's mysteries.
"It's impossible to guess," Moira found herself saying, her voice growing distant. "There are times when I think that I know, when I can almost see it, like a gem that glitters in the dark, or the face of a stranger through a veil. But then, a moment later, it's gone again, a wisp of smoke vanishing into a stormcloud."
"Ugh," Astria groaned, rolling her eyes again. "In other words, you don't know."
And once again, Moira sighed. "In other words, Astria, I don't know."
There was a long silence in the room then, as neither mother nor daughter looked at one another. Then, suddenly, the silence broke.
"He wants to be happy."
At the same moment, Astria and Moira turned to Beryl, who was still engrossed in her game. She hardly seemed aware that she had spoken. In her left hand was her favorite doll, a female doll with bright red hair. In her right was a new doll, a male with dark hair, its mouth set in a straight line, neither smiling nor frowning.
"What was that, sweetheart?" Moira asked.
Beryl looked over to her mother. "He wants to be happy," she repeated, then turned back to her doll. "He wants to hold on, but he can't."
"Beryl, what are you..." Moira began, then noticed the dolls. Beryl was trying to get the male doll to hold hands with the female, but his hands were not shaped right. He could not hold on.
"That's why he doesn't smile," Beryl explained.
Moira found herself grinning at her younger daughter. "Then why doesn't he frown?"
Beryl shrugged. "They still get to be together." The little girl held up the dolls and moved them close, as though they were hugging. Their arms could not wrap around each other, but they were close. Moira's eyes danced as she watched her daughter.
"That's dumb," Astria said, moving to stand. "Grow up, Beryl." With a toss of her head, Astria moved out of the room.
Moira stood up as well, but moved over to Beryl, knelt down, and put her arms around Beryl's shoulders. "Please don't," she said, and kissed her daughter on the top of her head. "And I think you're right." She reached down and, as Beryl held on to the two dolls, Moira grabbed their little cloth hands and pressed them together. She knew it would not stay that way for long, but it was that way for now, and that was all the mattered. "He wants to be happy."
I'M NOT CRYING YOU'RE CRYING!
*certainly does not reach for the Kleenex*
From the mouths of babes, eh? I think the thing this story gets at -- which has always sort of struck me about Nasperge -- is that, for lack of a better way of putting it, he has a vagabond soul. Maybe that comes from being a performer -- and the one thing I feel like I know with certainty about Nasperge is that he's a performer not just as a vocation, but as a way of life, a sense of self. He has to be doing a show, he has to be building a trick, whether he's on stage or not. That's just the way his world works. It can't be any other way, almost. And, like you alluded to in the very first story, one of the fundamental things about a performance is that is has to end. It has to move on. It has to up sticks, and travel, and find new audiences, because, otherwise, the magic disappears. It becomes a routine, rather than an event. (And, you know, maybe that's where part of Nasperge's ineffable sense of sadness comes from. He's living in a routine which to everyone else looks like an event. The only person who will never be amazed by it all is him. He can live vicariously through the audience when he's on stage, but, when the curtain goes down, it's just him, all alone, with no mysteries left. And I wonder if that's one of the things that made his connection with Moira so special. She was a mystery to him, and she never stopped being a mystery. She was like the trick he never knew the secret to.) And it all goes back to that question of why he can't stay -- not with Moira, not with anyone. Moira can't leave, and Nasperge can't stay. Her body won't let her, and his soul won't let him. It's not just the difference between an outlook that spans decades, and an outlook that spans millennia -- although that's a part of it. It's a little deeper than that.
He wants to be happy. But how can he be happy when he can never hold on? It's that performer's life. It's that vagabond soul.
What a beautiful little story, Raven. Thanks so much for sharing!
And Jade, I guess, is associated with Tom Petty's "American Girl" and Guns N' Roses' "Sweet Child o' Mine" because those two songs helped form "Promises, Promises."
And yet no mention of Naked Eyes...
I forgot about them. I guess I needed something there to remind me...
Have I told you guys lately that I love you?
_________________
"And remember, I'm pullin' for ya, 'cause we're all in this together." - Red Green
It seems to me that Jackie might have one more lesson for Scar. I picture Scar sort of hemming and hawing about the whole thing when she gets to the Ranch, and then, after the story's out, Jackie may have a thing or two to say about shooting Straight...
I have thoughts about this! Which will have to keep for at least another day...
From the mouths of babes, eh? I think the thing this story gets at -- which has always sort of struck me about Nasperge -- is that, for lack of a better way of putting it, he has a vagabond soul. Maybe that comes from being a performer -- and the one thing I feel like I know with certainty about Nasperge is that he's a performer not just as a vocation, but as a way of life, a sense of self. He has to be doing a show, he has to be building a trick, whether he's on stage or not. That's just the way his world works. It can't be any other way, almost. And, like you alluded to in the very first story, one of the fundamental things about a performance is that is has to end. It has to move on. It has to up sticks, and travel, and find new audiences, because, otherwise, the magic disappears. It becomes a routine, rather than an event. (And, you know, maybe that's where part of Nasperge's ineffable sense of sadness comes from. He's living in a routine which to everyone else looks like an event. The only person who will never be amazed by it all is him. He can live vicariously through the audience when he's on stage, but, when the curtain goes down, it's just him, all alone, with no mysteries left. And I wonder if that's one of the things that made his connection with Moira so special. She was a mystery to him, and she never stopped being a mystery. She was like the trick he never knew the secret to.) And it all goes back to that question of why he can't stay -- not with Moira, not with anyone. Moira can't leave, and Nasperge can't stay. Her body won't let her, and his soul won't let him. It's not just the difference between an outlook that spans decades, and an outlook that spans millennia -- although that's a part of it. It's a little deeper than that.
He wants to be happy. But how can he be happy when he can never hold on? It's that performer's life. It's that vagabond soul.
I don't know what you're talking about. Clearly, this is just a story of Young Beryl playing with dolls. Clearly...
Joking aside, I was happy with the way this turned out, and you pretty much touched on all the things I think about Nasperge, so I'll just point out a few things I really like about this story. I like that the first sentence is Nasperge disappearing. It's something of a habit for him to do that at the end of stories, so I liked starting out with that and exploring a bit of what is left behind when the Magician pulls his disappearing act.
I like snotty little Astria being annoyed by Nasperge, and annoying her mother with her annoyance. I particularly liked the "In other words, you don't know" line.
And, of course, Young Beryl is pretty much always adorable. I love how she's just engrossed in her own little world here, presumably oblivious to the conversation Moira and Astria are having, and potentially to the conversation Moira and Nasperge had just had. I just find it all a very cute little scene.
It was dark out when Jackie DeCoeur joined Scar on the porch. Moths flitted around the lantern, leaving their phosphorescent trails across the nighttime sky. Somewhere in the distance, a cicada sang. There was just a sliver of a moon.
“Here,” the red-eyed woman said, and offered Scar a fresh bandana. The centaur took the cloth wordlessly, and exchanged it for the damp handkerchief she had been using to dry her tears.
“Here,” the red-eyed woman said again, and this time she handed the centaur a mug of hot chicory, before sitting down on the swing with a mug of her own.
Scar sipped the steaming drink. The night was already hot, and sweat beaded on her forehead. But the drink felt good on her throat, and it helped just to taste something familiar.
Jackie DeCoeur took a sip of her own chicory, and leaned back on the swing. Reaching beneath her black serape, she extracted a silver flask with a flip-top lid, and poured half of its contents into the mug, before tilting back her head and draining the rest. Then, swirling the mug with her wrist, she tipped her hat forward, and began to rock back and forth in the swing.
“Normally, I’d offer you some fortification as well,” the red-eyed woman said, returning the flask to its hidden pocket. “But, under the circumstances, I figure I’d better not.”
Scar wanted to laugh, but the sound died somewhere in her throat. She dried her eyes with the bandana, then blew her nose.
“So, first things first,” Jackie DeCoeur said. “You stay here as long as you like, okay? A day, a week, a year – doesn’t matter. Trotter’s fixing a room for you. You stay as long as you like.”
Scar sipped her chicory, and nodded.
“Thanks,” she said. The word came out limp, and Scar hated how it sounded. She swallowed, and tried it again. “Thanks.”
Scar wanted to say something else, but all that came out was more crying.
Jackie DeCoeur stared out into the nighttime darkness. Scar was standing next to the swing, resting her haunches on an angled railing built for that purpose. As Jackie rocked back and forth on the swing, she ran her hand back and forth along Scar’s broad flank, and the gesture was at once familiar, and comforting.
“Listen,” Jackie said, blowing to cool her drink. “We can talk about it, if you feel like talking about it. Or, if you don’t feel like talking about it, that’s okay, too, and we can just sit, and watch the stars, and have a good cry.” She took a long sip. “Sometimes a good cry is what you need.”
“I’ve cried plenty,” Scar said. “And I don’t see that it’s done me much good.” She blew her nose into the bandana, then gave it sheepishly to Jackie, who offered a fresh handkerchief in return.
“You wanna talk about it, then?” Jackie said.
“Not really,” Scar said, and shook her head. “But I don’t wanna not talk about it, either, if you get my meaning? I’ve been not talking about it for a month, now, and I feel like I’m going insane.” She looked over at Jackie. “Does any of that make sense?”
“Yeah,” Jackie said. “It does.” And she patted Scar’s flank.
They were silent for a long time, then, just sitting, and drinking, and swinging. Jackie kept running her hand along Scar’s side, and Scar stared at the trails the moths made through the night. Somewhere in the distance, a second cicada picked up the first cicada’s tune.
Eventually, Scar spoke, and it was almost a whisper.
“I don’t know what to do, Jackie,” she said. “I just don’t know what to do.”
Jackie patted her flank.
“That’s okay,” she said. “You don’t have to figure that out tonight. Or tomorrow, even – or the day after that. You’ve got time.”
“I know,” Scar said.
“And, whatever you decide to do, it’ll be the right thing,” Jackie said.
“I know,” Scar said.
“I know that you know,” Jackie said, and smiled. “But, sometimes, it just helps to hear it from someone else, you know?”
“I know,” Scar said, and, in spite of herself, she smiled, too.
“Tell me something,” Jackie said, after a moment’s silence. “This boy of yours, what’s his name?”
“Straight,” Scar said, feeling her face grow hot, and her hand tighten around the mug.
“Straight,” Jackie said.
“He’s not a boy,” Scar said. “He’s twenty-two, like me.”
“Sorry,” Jackie said. “I know, sorry. You’re a woman now, I know.” She sipped her chicory. “It’s just easy for me to forget, is all. There’s a part of you will always be a little girl to me, stealing sweets in an alley, with a rattler in her purse.”
“And yet here I am,” Scar said, staring down at her hooves. “Running home to Miss Red.”
“No. Not to Miss Red,” Jackie said. “Just a friend, is all. Someone to talk to. Or not talk to. Whichever you need.”
“Woman to woman?” Scar said.
“Something like that,” Jackie said.
“I screwed up, Jackie,” Scar said, crying fresh tears into the handkerchief. “I screwed up bad.”
“No, you didn’t,” Jackie said. “And, so what even if you did? It’s like you said, you’re an adult, now. Screwing-up’s your prerogative.”
“There are screw-ups, and then there are screw-ups,” Scar said. “This is one of the latter.”
“I know so,” Jackie said, and drained her mug. She gave Scar another pat. “Anyway, this man of yours, this Straight? You like him?”
“I did,” Scar said. She stared out into the distance. “At least, I thought I did.”
“He ever lay a hand on you?” Jackie said, and, although she asked the question as though it were just casual conversation, Scar could sense a sudden stillness in the air, like the way the desert gets before a storm.
“No,” she said, emphatically. “Nothing like that.”
“Good,” Jackie said, and Scar could hear her exhale. “I’m sorry I asked. I mean, I figured he couldn’t have, since you’d’ve dusted him as soon as he tried. But, I had to ask, you know?” Jackie’s hand had frozen on Scar’s flank, and she gave the centaur a nervous pat. “You do know that, right?”
Scar turned to look at Jackie, and was startled by the look in the red-eyed woman’s eyes. It was a look that said: I would ride through seven hells and back before I’d let another living soul lay a finger on you. I would put a thousand men in the ground before I’d let them do you an ounce of harm.
Scar had seen that look before in Jackie’s eyes, but never like this.
“Yeah,” she said, “I know.”
“Good,” Jackie said, and, taking Scar’s hand, she squeezed it. “Good.” Then she turned back to face the night sky again. “Good,” she said again.
“Straight wasn’t like that,” Scar said.
“What was he like?” Jackie said.
“He was… I mean, I was…” Scar shook her head. “I just liked him, you know? He was nice, and kind, and… uncomplicated.” She shook her head again, then looked at Jackie. “I just liked him, is all. Was that so wrong?”
“There’s nothing wrong with nice, or kind,” Jackie said. “As for uncomplicated? Well, I wouldn’t know.”
Scar laughed, then thought to herself: when was the last time I did that?
“No,” she said to Jackie. “I suppose you wouldn’t.”
“And when did he run off?” Jackie said.
“About a month ago,” Scar said, and sighed. “Said he had a rid he needed to finish up. Said he had some thinking he needed to do.” She swirled her drink. “Must have been a lot of thinking.”
“You want me to find him?” Jackie said. “Assuming he’s not dead, that is?”
“No,” Scar said. “At least, I don’t think so.” She thought about it for a second. “No.”
“Want me to kill him?”
Scar nearly snorted hot chicory out her nose. “No,” she said.
“Because, for the record, I will,” Jackie said. “You just say the word.”
“I know you will,” Scar said, and laughed again. “And, thanks, but no thanks.” She wiped her eyes with the handkerchief.
“Well, if you change your mind,” Jackie said, and shrugged. “About either the finding or the killing.”
“I’m not even angry with him anymore,” Scar said. “Not really.” She shook her head. “I mean, at first, I was. I was so angry I couldn’t see straight. I almost rode out after him – twice. I was going to find him – I always was a better Ridder than he was, mind you, and I would’ve found him.”
She looked at Jackie, as if seeking some sort of affirmation. The red-eyed woman nodded.
“Anyway,” Scar said, “I was mad as all hell, and I almost rode after him, and, I kept saying to myself, ‘I’ll find him, and then I’ll tell him.’” Scar shook her head. “And then, just as I was getting my gun ready to leave, I suddenly asked myself, ‘wait, tell him what?’ And that literally froze me cold, because… well, because I don’t know. I don’t know what I would’ve told him.” She shook her head again. “I don’t know what I’d tell him now. All I know is that, well, if he doesn’t want to be there for me, anymore, then I don’t want him. I wish he wouldn’t have gone, but he did go, and now I don’t want him. I don’t want him anywhere near me. Maybe, someday, that’ll change, but, for now?” She looked at Jackie. “For now, I don’t want him. If he doesn’t want me, then I don’t want him.”
“Makes sense to me,” Jackie said.
“It’s just that, now, I’m alone,” Scar said. She had thought she was done crying, but now there were fresh tears in her eyes, and she let them come. “I can’t rid anymore, and I’m alone, and there’s a baby coming, and I don’t know what to do.”
“No, you’re not,” Jackie DeCoeur said. “You’re not alone.” She tapped a boot on the porch. “As long as this ranch stands, you’ll never be alone.” She took the empty mug from Scar’s hand, and held it. “As long as I’m alive, you’ll never be alone. You know that, right?”
Scar wiped her eyes with the handkerchief. “Thanks, Jackie,” she said.
“Don’t mention it,” Jackie said, and, for the rest of the night, they sat there on the porch together, listening to the sounds of the cicadas.
“And if you ever change your mind about the killing?” Jackie said.
“I’ll let you know,” Scar said, and laughed.
_________________
"And remember, I'm pullin' for ya, 'cause we're all in this together." - Red Green
Joined: Oct 19, 2015 Posts: 1769 Location: Homestuck rehab center
Identity: Functionally male
Preferred Pronoun Set: he/him
I never pictured Jackie as a physically affectionate person with children (or grown friends), but living in a tranquil place for years would change even the Red-Eyed Woman, or rather it would bring out something hidden even from her. Excellent piece as always, OL, thank you for sharing!
Scar said "...I was so angry I couldn’t see straight."
Now that's some high quality punning right there. I bet you thought I wouldn't notice, didn't you?
Anyway, thanks for posting! I enjoyed this little moment between two friends. Just two friends talking or not talking, casually discussing or not discussing life, family, and the very real possibility of hunting down and killing a jerk. It makes me think of this scene:
Spoiler
"Admit it, you did."
"Did what?" Jackie asked as innocently as she could.
"You know perfectly well 'what,' Jackie DeCoeur," Trotter said with his paws on his hips.
"I'm sure I don't," Jackie insisted.
"Don't deny it. You were out there for hours."
"That doesn't mean anything," Jackie said.
"I know you, Jackie."
"After all these years, I would hope so," Jackie said with a wink.
"So you admit that you did it, then?"
"No."
"What do you mean? 'No' you didn't do it, or 'no,' you won't admit to it?"
"Either," Jackie said. "Or both."
Trotter stomped once on the ground. "Why won't you just admit it?"
"I don't know what I'm admitting to."
"You really want me to say it?" Trotter asked.
"I'd rather we just go to bed, honestly."
"Fine. Admit it, and we'll go to bed."
"Hmm," Jackie said. "Tempting. Remind me: what is it I'm admitting to, again?"
Trotter groaned and threw up his paws. "Ugh! Fine! You offered to kill him, didn't you?"
"Oh, that."
Trotter buried his face in his paws. "Yes, that! What did you think, that I thought you had danced with another fox or something?"
"Oh, well, about that..."
"Jackie!"
"What?"
Trotter groaned again. "You've got to stop offering to kill people!"
"Why?"
"Because you promised!"
"Oh," Jackie said, a coy smirk crossing her face. "I guess I do sort of owe you an apology, don't I?" She moved over to the fox and pulled him close.
"So, are you admitting it?" Trotter asked.
"Sure," Jackie said, "if it means we get to go to bed."
Anyway, I do love good Scar stories, and this is a good Scar story. I wonder how the kids at the Ranch reacted to Scar's unexpected return. And, of course, I love the little dropped line about Scar being the little girl stealing sweets with a rattler in her purse. It amuses me that Jackie sort of has a soft spot for that particular con and always associates it with Scar.
Also, is it just me, or does anyone else envision Hush-Hush showing up just in time to be the midwives? I don't know why, but there's something I like about that image.
The kids crowded around Scar, her sudden and unexpected return sending a shockwave of excitement throughout the ranch. Most of them, even the older ones, were all talking at once, and Scar could not keep up with all of their questions. The sound of exuberant voices echoed off the walls until nobody could discern any of the sounds as actual words, only as a singular mass of noise.
Eventually, as the kids started to realize that Scar was not answering them, could not answer them, they began to quiet down one at a time. The older ones picked up on it first, and the effect trickled down until finally, almost eerily, nobody was saying anything at all. Scar took a deep breath and prepared herself to speak, but just before she could, she felt a little tug on her sleeve. She looked down, and the small Noggle Tob was staring up at her.
"Will you tell us a story, Scar? Please?"
Scar blushed slightly. "Oh, I don't know, Tob. I'm not good with stories."
There was a murmur from the crowd of kids, some joining in on Tob's request, some trying to goad Scar on, and some simply disagreeing with Scar's assertion. The noise was threatening to climb once again to a fever pitch when the Rattler Maroa held up her hands.
"Come on, Scar. You're a great storyteller, and you know it!"
Another murmur of agreement rang out as Scar shook her head. "But I always forget parts," she insisted. "Like names and things like that."
"Oh, come on," the kid named Kid said. "Please?"
Finally, Scar relented. "Oh, alright. But don't blame me if I mess up, okay?"
The kids agreed, and arranged themselves almost like an audience in front of the centaur. Scar thought she caught a glimpse of annoyance in Trotter's face as the fox stood with Jackie at the door, but she began her story anyway.
"So, it was my second Rid, and it was an interesting crew. Our lead was a man named Id, and he was the controlling type. He kept strict watch on everything, especially the ammo and the water, and if he didn't like the way you were doing things, he'd deny your rations. One of the other ridders, named Drink, was always losing out on water rations because he was always goofing off."
"Did you ever lose out on a ration, Scar?" One of the kids interrupted.
Scar laughed slightly. "Maybe one or two," she said. "But I would just sneak one when Id wasn't looking," she added with a wink. That got a laugh out of the kids. "Anyway, my friend Horse was always really good. She never really..."
"Wait, who's 'Horse?'" Vorena asked.
"Oh, sorry. Horse is one of the ridders. Her name's Leeta."
"I thought it was Horse..." Tob said, confused.
Scar laughed again. "She took the name Horse as a surname to honor the lost, noble creatures. Centaurs have a strong connection to the horses, of course."
The kids nodded their understanding. After a moment, Scar continued.
"So, one day, it was really, really hot out, like it gets out in the Waste, and we all needed some water. Horse was on her best behavior, and she asked Id for some water. Makum, though, was being his usual self."
"Makum?" Derek asked.
"Hmm?" Scar said. "Oh, yeah. That's Drink's first name."
"Oh," several of the kids said.
"Anyway," Scar continued, "Makum was being annoying, so when he and Leeta asks for water, Eeum says..."
"Eeum?" several kids asked at once.
"Yeah, the old centaur?" Scar said, scratching her head. "The leader?"
"You said his name was 'Id,'" Honeysuckle pointed out.
"Oh, yeah, Id's his first name. See, I told you guys I wasn't good at this!"
"So, what happened then?" Lucky asked.
"Oh, haven't you figured it out?" Scar said with a devious smile. "When they both asked if they could have a ration, the old Id Eeum says, 'You can, Leeta Horse, two waters, but you can't, Makum Drink.'"
*"To YMTC it up" means to design cards that have value mostly from a design perspective. i.e. you would put them in a case under glass in your living room and visitors could remark upon the wonderful design principles, with nobody ever worring if the cards are annoying/pointless/confusing in actual play
The kids crowded around Scar, her sudden and unexpected return sending a shockwave of excitement throughout the ranch. Most of them, even the older ones, were all talking at once, and Scar could not keep up with all of their questions. The sound of exuberant voices echoed off the walls until nobody could discern any of the sounds as actual words, only as a singular mass of noise.
Eventually, as the kids started to realize that Scar was not answering them, could not answer them, they began to quiet down one at a time. The older ones picked up on it first, and the effect trickled down until finally, almost eerily, nobody was saying anything at all. Scar took a deep breath and prepared herself to speak, but just before she could, she felt a little tug on her sleeve. She looked down, and the small Noggle Tob was staring up at her.
"Will you tell us a story, Scar? Please?"
Scar blushed slightly. "Oh, I don't know, Tob. I'm not good with stories."
There was a murmur from the crowd of kids, some joining in on Tob's request, some trying to goad Scar on, and some simply disagreeing with Scar's assertion. The noise was threatening to climb once again to a fever pitch when the Rattler Maroa held up her hands.
"Come on, Scar. You're a great storyteller, and you know it!"
Another murmur of agreement rang out as Scar shook her head. "But I always forget parts," she insisted. "Like names and things like that."
"Oh, come on," the kid named Kid said. "Please?"
Finally, Scar relented. "Oh, alright. But don't blame me if I mess up, okay?"
The kids agreed, and arranged themselves almost like an audience in front of the centaur. Scar thought she caught a glimpse of annoyance in Trotter's face as the fox stood with Jackie at the door, but she began her story anyway.
"So, it was my second Rid, and it was an interesting crew. Our lead was a man named Id, and he was the controlling type. He kept strict watch on everything, especially the ammo and the water, and if he didn't like the way you were doing things, he'd deny your rations. One of the other ridders, named Drink, was always losing out on water rations because he was always goofing off."
"Did you ever lose out on a ration, Scar?" One of the kids interrupted.
Scar laughed slightly. "Maybe one or two," she said. "But I would just sneak one when Id wasn't looking," she added with a wink. That got a laugh out of the kids. "Anyway, my friend Horse was always really good. She never really..."
"Wait, who's 'Horse?'" Vorena asked.
"Oh, sorry. Horse is one of the ridders. Her name's Leeta."
"I thought it was Horse..." Tob said, confused.
Scar laughed again. "She took the name Horse as a surname to honor the lost, noble creatures. Centaurs have a strong connection to the horses, of course."
The kids nodded their understanding. After a moment, Scar continued.
"So, one day, it was really, really hot out, like it gets out in the Waste, and we all needed some water. Horse was on her best behavior, and she asked Id for some water. Makum, though, was being his usual self."
"Makum?" Derek asked.
"Hmm?" Scar said. "Oh, yeah. That's Drink's first name."
"Oh," several of the kids said.
"Anyway," Scar continued, "Makum was being annoying, so when he and Leeta asks for water, Eeum says..."
"Eeum?" several kids asked at once.
"Yeah, the old centaur?" Scar said, scratching her head. "The leader?"
"You said his name was 'Id,'" Honeysuckle pointed out.
"Oh, yeah, Id's his first name. See, I told you guys I wasn't good at this!"
"So, what happened then?" Lucky asked.
"Oh, haven't you figured it out?" Scar said with a devious smile. "When they both asked if they could have a ration, the old Id Eeum says, 'You can, Leeta Horse, two waters, but you can't, Makum Drink.'"
That sound you just heard was my head exploding!
(Also, can I mention how much I love that there's a kid called Kid? That's totally canon, now!)
I never pictured Jackie as a physically affectionate person with children (or grown friends), but living in a tranquil place for years would change even the Red-Eyed Woman, or rather it would bring out something hidden even from her. Excellent piece as always, OL, thank you for sharing!
Thank you for reading, HN! I'm super glad you liked it!
As for Jackie, I agree that I don't think she's physically affectionate as a rule, although she's definitely not averse to contact. We've definitely seen her hugging before, and her failed attempt to hug Hush-Hush is one of my favorite mental images. But I think the thing that sort of makes her make sense to me in this particular scene is that, while she's patting Scar on the flank -- just to provide that sort of physical contact, I think, that maybe Scar needs in this moment -- she's still not looking at her most of the time. Jackie's patting Scar, but she's also staring straight ahead. They're not really looking at each other -- they're both kind of staring out into the distance. And I think that's very deliberate. I think that's Jackie's way of both being there for Scar -- being present, providing contact -- while also giving her space, keeping her distance. And the moment when they do look at each other -- when they do finally make eye contact -- that's not Scar's moment of weakness, that's Jackie's moment of weakness. That's the one moment when it's Jackie who needs Scar to reassure her, not the other way around. That's Jackie saying, "please tell me that you know that I would never let anybody hurt you, if I had the power to stop it." So I think it's that combination of closeness and distance which sort of makes Jackie's half of the scene fit with the notion I have of her in my head.
I enjoyed this little moment between two friends. Just two friends talking or not talking, casually discussing or not discussing life, family, and the very real possibility of hunting down and killing a jerk. It makes me think of this scene:
Spoiler
"Admit it, you did."
"Did what?" Jackie asked as innocently as she could.
"You know perfectly well 'what,' Jackie DeCoeur," Trotter said with his paws on his hips.
"I'm sure I don't," Jackie insisted.
"Don't deny it. You were out there for hours."
"That doesn't mean anything," Jackie said.
"I know you, Jackie."
"After all these years, I would hope so," Jackie said with a wink.
"So you admit that you did it, then?"
"No."
"What do you mean? 'No' you didn't do it, or 'no,' you won't admit to it?"
"Either," Jackie said. "Or both."
Trotter stomped once on the ground. "Why won't you just admit it?"
"I don't know what I'm admitting to."
"You really want me to say it?" Trotter asked.
"I'd rather we just go to bed, honestly."
"Fine. Admit it, and we'll go to bed."
"Hmm," Jackie said. "Tempting. Remind me: what is it I'm admitting to, again?"
Trotter groaned and threw up his paws. "Ugh! Fine! You offered to kill him, didn't you?"
"Oh, that."
Trotter buried his face in his paws. "Yes, that! What did you think, that I thought you had danced with another fox or something?"
"Oh, well, about that..."
"Jackie!"
"What?"
Trotter groaned again. "You've got to stop offering to kill people!"
"Why?"
"Because you promised!"
"Oh," Jackie said, a coy smirk crossing her face. "I guess I do sort of owe you an apology, don't I?" She moved over to the fox and pulled him close.
"So, are you admitting it?" Trotter asked.
"Sure," Jackie said, "if it means we get to go to bed."
Hah, yeah, I forgot that, in the other little micro-story I wrote about this sort of thing, it came up that Jackie promised Trotter that she wasn't going to go around shooting people anymore. Now I'm trying to imagine how that scene played out. I can hear Jackie saying to him, "Don't ask me for promises you know I can't keep," and him saying back, "You promised me that I was enough, that all this was enough. And I wanted to believe you, but now you have to prove it. You have to choose between me -- between us -- and revenge. And I guess I'm just dumb enough to hope that, when it comes right down to it, you'll choose me."
Or something like that.
Granted, I'm sure there are a few escape clauses in Jackie and Trotter's understanding. I don't think there would be any controversy if a non-friend found their way onto the ranch, and had to get shot. And, like we saw in "Mistakes of the Past," there are certain exigencies which Trotter understands Jackie can't walk away from, and he's willing to let her go, just so long as she promises to come back. But riding out for revenge just to soothe her sense of justice is probably off the menu these days. And, actually, if I hadn't written this little story, the alternative I sort of had in mind was Honeysuckle turning up in Straight's room one night, and basically giving him The Talk which Jackie would have given him, if Jackie could still afford to be seen alive these days. Trying to be as cool and intimidating as Red would have been, to lay out the new facts for him -- basically, some version of: "You're out of Scar's life. She doesn't want you. So don't come looking. If she ever wants to see you, then she'll find you. Until then, you don't exist, as far as she's concerned. So consider yourself lucky, and keep out of her way." And that was a lot of fun to think about. I could imagine Jackie coaching Honeysuckle beforehand -- what to say, how to say it, how to carry yourself, how to hold a man's eye. How to keep that snub-nosed boomstick in your lap the whole time -- not pointing at Straight, just casual, but always where he can see it, always so he knows that you can have it on him and turn him into a cloud of red dust before he can even reach his gun, which is hanging from the bedpost, and much too far away. And then I can picture Honeysuckle just turning on a dime, from tough as nails when Straight's in the room, to anxious once he's gone -- "Miss Red, did I do good?"
Anyway, that was a lot of fun to think about, too.
Also, is it just me, or does anyone else envision Hush-Hush showing up just in time to be the midwives? I don't know why, but there's something I like about that image.
Somehow, when I picture that, I imagine that it turns out that Hush-Hush actually know nothing about childbirth, and are totally mystified by the process they find themselves elbow-deep in.
(Also, can I mention how much I love that there's a kid called Kid? That's totally canon, now!)
Actually, it already is!
The kid Scar rescues in "Ticket to Rid" gives his name as Kid, because it's the only thing his "bad-kind-of-bandit" father ever called him. So this story implies that Kid did, in fact, make it to the Ranch.
Hah, yeah, I forgot that, in the other little micro-story I wrote about this sort of thing, it came up that Jackie promised Trotter that she wasn't going to go around shooting people anymore. Now I'm trying to imagine how that scene played out. I can hear Jackie saying to him, "Don't ask me for promises you know I can't keep," and him saying back, "You promised me that I was enough, that all this was enough. And I wanted to believe you, but now you have to prove it. You have to choose between me -- between us -- and revenge. And I guess I'm just dumb enough to hope that, when it comes right down to it, you'll choose me."
Or something like that.
I've always liked that scene, and it came sort of as a package deal with Scar's original story, "Shades of Red." So, when Jackie offers, almost casually, to go kill Straight, I just imagine Trotter, inside getting Scar's room ready and thinking that Jackie was probably casually offering to go kill Straight.
And then Trotter probably thought something like If I can't go and do just one comeback extravaganza, then she can't go around shooting people, no matter how much they deserve it.
Then he started humming full songs and dancing with the bedsheets until one of the kids walked in and then backed out awkwardly with their hands held up.
Granted, I'm sure there are a few escape clauses in Jackie and Trotter's understanding. I don't think there would be any controversy if a non-friend found their way onto the ranch, and had to get shot. And, like we saw in "Mistakes of the Past," there are certain exigencies which Trotter understands Jackie can't walk away from, and he's willing to let her go, just so long as she promises to come back. But riding out for revenge just to soothe her sense of justice is probably off the menu these days. And, actually, if I hadn't written this little story, the alternative I sort of had in mind was Honeysuckle turning up in Straight's room one night, and basically giving him The Talk which Jackie would have given him, if Jackie could still afford to be seen alive these days. Trying to be as cool and intimidating as Red would have been, to lay out the new facts for him -- basically, some version of: "You're out of Scar's life. She doesn't want you. So don't come looking. If she ever wants to see you, then she'll find you. Until then, you don't exist, as far as she's concerned. So consider yourself lucky, and keep out of her way." And that was a lot of fun to think about. I could imagine Jackie coaching Honeysuckle beforehand -- what to say, how to say it, how to carry yourself, how to hold a man's eye. How to keep that snub-nosed boomstick in your lap the whole time -- not pointing at Straight, just casual, but always where he can see it, always so he knows that you can have it on him and turn him into a cloud of red dust before he can even reach his gun, which is hanging from the bedpost, and much too far away. And then I can picture Honeysuckle just turning on a dime, from tough as nails when Straight's in the room, to anxious once he's gone -- "Miss Red, did I do good?"
Anyway, that was a lot of fun to think about, too.
And now I'm imagining the heated conversation amongst the kids about who gets to go have that little conversation, each one giving their reasons why it should be them. "I've know her the longest!" "Well, I'm more intimidating that you are!" "Well, my room was closer to hers!" And it just devolves from there.
Also, is it just me, or does anyone else envision Hush-Hush showing up just in time to be the midwives? I don't know why, but there's something I like about that image.
Somehow, when I picture that, I imagine that it turns out that Hush-Hush actually know nothing about childbirth, and are totally mystified by the process they find themselves elbow-deep in.
Also, is it just me, or does anyone else envision Hush-Hush showing up just in time to be the midwives? I don't know why, but there's something I like about that image.
Somehow, when I picture that, I imagine that it turns out that Hush-Hush actually know nothing about childbirth, and are totally mystified by the process they find themselves elbow-deep in.
The mental images which result are... weird.
Well, their hearts are in the right place.
What if they found a way of, say, teleporting the baby out of Scar? Which wouldn't be weird... at all...
EDIT: What are your ships? I mean, beyond the already established couples, which romantic pairs of M:EM characters do you find interesting or you'd just want to read about? The answer doesn't have to involve your characters, and I'm not talking about "there might have been something once", like with Nasina and Nasperge.
Users browsing this forum: No registered users and 6 guests
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot post attachments in this forum