#now it is mad scientist we are in the package dissecting | Explore Tumblr posts and blogs

littlemisswolfie · 4 years ago

Text

Hope That You Fall In Love (And It Hurts So Bad)

Part II>

Somehow I never posted this here oops--

I’ve always loved @umisabaku ‘s Designation: Miracle fic series on Ao3, and I love to see a half-Canadian protagonist in anime because no one ever thinks being half-Canadian is cool, so I love Sk8: The Infinity, and I figured, hey! Why not combine them! And this happened.

TW for mentions of child experimentation and torture, a scene where it is heavily implied Nanako trades sexual favors in exchange for custody of Langa, a few scenes where Langa has nightmares, a brief moment of Langa having a panic attack, non-graphic descriptions of Oliver developing liver cancer, discussions of death and funeral arrangements, a non-graphic scene of Oliver dying, and the beginnings of Langa's depression.

Ao3

Hasegawa Nanako didn’t quite know what she was getting into when she got contracted by a private company straight out of nursing school. She was young and trusting and desperate for money after her parents died and left her with their debts, and the recruiter from Teiko Industries handed her a quote that was three times the average pay for nurses, so she took the job. She signed the stacks of NDAs, went through with the extensive background checks and drug tests, and underwent a psych evaluation before she even stepped foot into the lab that would change her entire life.

She wants to quit as soon as she figures out what was really going on. Human experimentation, torture, training children to be assassins… the whole thing makes her skin crawl. But, again, she really needs the money. No other job she could get right out of school would pay enough to chip away at her parents’ debt and pay for her apartment and car and food. So, with a heavy heart, she shows up for her shift five nights a week, and she’s assigned to the hospital ward that cared for Generation Infinity.

They’re the youngest generation so far. Eight years younger than Generation Miracle, which, Nanako learns from a particularly chatty coworker, was the most successful Generation by far. “They’re almost all Successes,” the other nurse says, cheery, like they’re talking about some sports game or a litter of kittens instead of living, breathing children. “They just had to scrap O394, but the others are all still promising. Well, maybe not B452, but still. That’s six out of fourteen! Imagine that.”

Nanako doesn’t want to imagine that. The thought makes her stomach churn. The casual talk of killing children…

“Maybe Infinity will be even better!” the coworker chatters on. “If our Orange Three can actually fly… think they’d give us a raise?”

The Project she sees most often during her shift is GI-B423.

Nanako knows there isn’t much hope for him. He’s only two years old, but he’s barely developed even the slightest invisibility. He doesn’t even display any Latent Overflow, which was supposed to be inherent in every Project. The scientists still make him wear the shock bracelets (horrible things, Nanako wanted to rip them off of him with her bare hands) and still send him to that torture chamber they stole from Orwell, but he’s already a Failure in their eyes.

To Nanako, he’s a baby. He’s tall for his age, with curious eyes and an unfillable stomach and a wonderful smile when she could wrench one out of him. He winds up in the hospital ward so often because of his reckless behavior. He tries to copy everything the other Projects do, particularly GI-O376’s jumping and GI-B531’s speed, and even when he doesn’t hurt himself trying something stupid, his heart rate elevates and he gets shocked.

“You should be more careful,” she says to him one night as she patches up a scratch he got when he scraped his arm on the wall of his cell trying to touch the ceiling. “I’d hate to see them hurt you for being reckless.”

Those eyes, too smart for a toddler, stare into her soul. “You’re worried about me?”

“Yes.” There’s no use denying it. Even if she didn’t care too much about this child who will probably be killed by the time he’s ten years old, it would be cruel to deny caring for a boy this young. And maybe she’s selfish, for feeling like this about GI-B423 and not the other children, but the scientists care about them plenty. They are Successes.

GI-B423 will never be a Success. So she has to care about him, because no one else will.

Nanako quickly comes to realize she’s one of the only people in Teiko that thinks of the Projects as human. This lets her see things no one else does.

So, a few years after she starts working, she notices GM-B425 is planning something.

She’s sure he’s fooling the others. The scientists and doctors and contractors think of these children as weapons, unfeeling, unthinking save for their direct orders. The Miracle Projects are generally allowed free reign of the facility as long as they stay out of the private offices and labs, so Nanako will take her time at the vending machines to watch them, and she notices the way GM-B452 watches everyone else. He’s the closest thing to a Success a Black will ever be, Nanako has heard, but he’s still going to be scrapped soon.

Nanako knows what desperation looks like.

She makes a choice.

“Let me get this straight,” says Honda-san, the director of Generation Infinity. He’s an older man, probably pushing sixty, with graying black hair and dark, mean eyes. He’s watched her with a predatory gaze from the first time they met when she first started. Nanako’s always known she’s a pretty woman, one of the few things her mother gave her, so it wasn’t like she was unused to attention from old, greasy men. “You want to resign, and instead of a severance package, you want to take GI-B423 with you?”

“Yes, sir.” Nanako’s wearing her best dress (and if it’s cut just low enough to be flattering, well, that’s just a bonus) and she did her make-up and she is being as polite as she can possibly be. “I’ve made more than enough money here to pay off my parents’ debts, and I was never cut out for work like this in the first place, so I see no reason to continue in my current position when you could hire someone more suited for the role.” She’s been saving since the day she started working. She never eats out, she doesn’t go out drinking, and she takes five minute showers. She’s debt-free, with savings to spare.

“And GI-B423?” Honda-san leans forward on his hands, his wrinkled brow furrowing further. “What use could he have to you?”

Nanako inhales and brings a hand to her stomach. “I’ll never be able to have children,” she says, the truth burning her throat. “I had to get a hysterectomy due to my endometriosis. I’ve come to care for GI-B423 as my own child, and you know as well as I do that he’ll never be a Success. If anything, he’s more noticeable than the other members of his Generation. Why spend the resources continuing to believe he’ll develop the abilities you would need him to? Why dissect him as if anything about him could better future Projects?” The words sting, tasting sour in her mouth. She hates saying these things about GI-B423, but it’s what she needs to do. “If you can get him on my family register, that’s all I ask. We’ll leave the country, and you’ll never hear from us again.”

Honda-san makes a considering noise, and, after a moment, he places his hand on her bare knee. His wedding band glints in the overhead light. “I might be persuaded.”

Nanako tries to smile.

Later that night, as Nanako is slipping her dress back up over her shoulders in the room of the love hotel Honda-san rented for the evening, Honda-san says, “What name did you want for him?”

“Langa,” Nanako says. “His name is Hasegawa Langa.”

Langa is confused, at first. “Where are we going?” he asks Nanako when she loads him and his meager belongings into her car. He’s never been out on a mission, so this is probably the first time he’s ever seen a car. “Does R0132 know where I am? He’ll get mad if I’m not at training.” He rubs at his wrists, finally free of those awful shock bracelets, like he can’t believe they’re gone.

“I don’t work here anymore,” she tells him. “I quit. Do you know what adoption means? It means I’m going to take care of you from now on.”

“So… I don’t live here?”

“No. And you’ll never have to do training again, or wear your shock bracelets, or go to Room 101. You can eat as much as you want. And you have a name.”

“A name?”

“Yes. Your name is Hasegawa Langa. You’re my son, now, and I’m your mother, and that means I’ll love you and take care of you for the rest of your life.”

Langa blinks. Then, he says, “Okay,” and he lets her buckle him in.

Two days later, they’re on a plane to Canada.

A month after that, nestled in their new apartment in Squamish, Nanako holds Langa in her lap and they watch, together, as Generation Miracle escapes from Teiko.

“Will they come for us, Mom?” Langa asks.

She squeezes him around the middle, perhaps a little too tight. “No, honey. As long as we keep our secret a secret, we’ll be fine.”

Nanako hopes she’s right.

The military never ends up knocking on their door, and Nanako thanks God for small mercies. She and Langa are doing everything they can to blend in, like normal immigrants. Nanako’s working at a nursing home, and Langa is enrolled at the local Catholic school, and they both attend Mass on Sundays and Wednesdays. Nanako makes friends with the other women in the apartment building and she tells them all that Langa’s father got her pregnant and walked out on her, so that’s why he’s not in the picture, and Langa dutifully goes along with the sentiment when asked. Langa isn’t making a lot of friends, and that would worry Nanako, but mostly she’s glad that it means there’s no danger of Langa accidentally telling a kindergartener with no filter about his time at Teiko.

He still gets nightmares, sometimes. Nanako never saw the inside of Room 101, and she wishes Langa never had, either. She never let him see the press images of how the JSDF found Teiko when they went hunting for the scientists, because that would only make the fear worse. Hell, she woke up in the middle of the night sometimes, catapulted out of a dream of fire and screaming, bloody children, guilty that she couldn’t save the rest of them, guilty that she only loved Langa and not the others, and she’ll never make Langa feel that, too. He has enough on his shoulders as it is.

Then, for Langa’s first Christmas outside of Teiko’s walls, Nanako uses up all the PTO she’s saved and they take a trip to a ski lodge, and there they meet Oliver Campbell.

Oliver, as it turns out, also lives in Squamish, as he tells Nanako one night over boozy hot chocolate after Langa has been put to bed. “I’m a firefighter,” he says, “though, when I was younger, I wanted to be a pro snowboarder.”

“I could never,” Nanako laughs. “That’s a little too dangerous for me.” Then, because the alcohol makes speaking secrets easier, she says, “Langa would probably love it, though. He’s always been an adrenaline junkie.”

Oliver looks surprised. “He seems like such a quiet kid.”

“Oh, you should’ve seen him when he was—when we still lived in Japan. Scrapes and broken bones everywhere.”

“Well, then, he’s lucky he had such an amazing mother to patch him up.”

Heat floods Nanako’s cheeks. “What good would my nursing license do if I couldn’t even take care of my own kid?”

“And… Langa’s father?”

“Not in the picture. It’s just the two of us.” Please don’t ask anymore, she begs. There’s something about Oliver that makes her want to be completely honest, and that could end very, very poorly.

“Ah,” he says, instead, “I’m sorry about that. Wherever he is, he’s really missing out.”

Nanako thinks of Honda-san, of his leer and his sweaty hands and his potbelly dragging against her back, and says, “We’re better off without him, trust me.”

The next day, Oliver starts teaching Langa how to snowboard. Just like Nanako thought, he takes to it like a fish to water, and even when he falls, the snow cushions his landing, so he just laughs and jumps right back up to try again. She watches from the sidelines and smiles, feeling warm, because this is what Langa deserves. He deserves to be a normal kid.

“When are you guys going home?” Oliver asks over dinner one night, a few days into their stay at the ski lodge. They’re having breakfast for dinner, a phenomenon Langa was very pleased to learn about, and Nanako ordered him three helpings of Eggs Benedict.

Langa is too busy shovelling peameal bacon into his mouth like he’s never eaten in his life to answer, so Nanako says, “Boxing Day. We don’t have any family in the area, so we’re just doing Christmas here.”

Oliver leans back in his chair. “That reminds me! Why did you guys move here, anyway? If you don’t have family here, I mean.”

Langa only barely doesn’t tense up, and Nanako promises to give him extra dessert for his restraint. “We needed a fresh start,” Nanako says. “I got pregnant with him while I was still in nursing school, and by the time I graduated, my parents had both died, and I got saddled with their debts. We stayed in Japan long enough to pay the debts off and save enough money to move, and we just… left. Where we went didn’t matter much, honestly, as long as it wasn’t Japan.”

“Your English is pretty good,” Oliver notes. He genuinely just sounds curious. “Both of you, actually. If I didn’t know you were immigrants, I would think English was Langa’s first language.”

Langa swallows a huge mouthful of English muffin and egg and says, “I know French, too! And some other languages.”

Nanako takes back her internal promise of extra dessert as Oliver’s eyebrows migrate up towards his hairline. “That’s very impressive,” he says. “Where’d you learn all those?”

Langa shrugs. “Around.”

“We learn English all throughout school, in Japan,” Nanako cuts in. “When I knew we were going to move abroad, I taught Langa, too. And he started teaching himself French when we decided on Canada. He’s a quick study when it comes to languages.” Oliver still looks a little unsure, so she rushes to change the subject. “When are you leaving the lodge, Oliver?”

“I’m checking out of my room on Christmas Eve. My parents always throw a big Christmas party at their cabin in Princeton every year, with all the aunts and uncles and cousins. It’s a riot, especially when we play Pass the Ace.”

“Pass the Ace?” Langa asks. “What’s that?”

A playful glint enters Oliver’s eye. “Oh, Langa, my boy, do you have any loonies on you?”

The three of them spend the next few days together. Langa wakes Nanako up as soon as the sun rises and they go downstairs to meet up with Oliver, who spends the rest of the morning teaching Langa how to snowboard. Then they go to the bunny slopes to toboggan, and at night, they eat dinner together, and Oliver and Nanako stay up long after Langa goes to bed to drink and talk.

Nanako’s surprised at how easy it feels to be around Oliver. Even before she started working at Teiko, her dating life wasn’t exactly active. Sure, she’d hooked up with a few guys in college, and she had a boyfriend in high school, but there was never a connection, not like this.

“Here,” he says, the night of the 23rd, “let me give you my number.”

“Really?” Nanako asks, even though she’s already pulling her phone out of her pocket.

Oliver gives her a confused look. “Yeah? I mean, unless you didn’t want to meet up back in Squamish—”

“No, I do!” Nanako rushes to correct. “I do. It’s just… I mean, with Langa…”

“Hey.” Oliver reaches across the table to take one of her hands. “Langa’s a great kid. Any guy who got scared away by him isn’t worth the time of day. I like you, and I like Langa, and I would love nothing more than to get to know the both of you better, if you would allow it.”

Nanako flushes again. She likes this feeling, like someone is looking at her and seeing her and still liking it. She knows she shouldn’t, that Langa’s secret could be in jeopardy if she gets too close to the wrong guy, but she can’t help it. “I think I will,” she says. “Langa would probably never forgive me if I took his snowboarding teacher from him.”

And Oliver laughs, and it’s one of the most beautiful sounds she’s ever heard, right under Langa calling her “Mom.”

She and Oliver start officially dating not too long after Christmas. He’ll come to the nursing home with Tim Hortons when she’s working twelves, and he picks Langa up from school and helps him with his homework, and he invites the two of them over for dinner at least twice a week because he knows Nanako is often too busy to cook. When it comes time to celebrate Langa’s birthday, Oliver buys him a brand new snowboard, and Langa throws his arms around his neck and chants “thank you”s into his hair.

He brings them to his parents’ cabin for Victoria Day, and his family is just as kind as him. His nieces and nephews do their best to include Langa in their games, but they don’t push when she shies away and hangs out by the buffet table instead, and his mother, Barbara, hugs Nanako like she’s an old friend rather than a stranger.

“Hey, Langa, wanna swim?” Oliver’s dad, Ray, asks, gesturing to the small pond nearby. Some of the other kids are already splashing around in it, and it is getting warm, so it’s no wonder he’s suggesting it.

Nanako tenses, but Langa just shakes his head. “I don’t swim very often,” he says in that serious way of his, and she releases the breath she was holding. She’s never taken him swimming since she adopted him, because she can’t be certain no one will see the GI-B423 brand on his upper thigh. He doesn’t have many scars, other than the faint ones around his wrists he usually wears long-sleeved shirts to bulky bracelets to cover up, but that one in particular would be very hard to explain away.

Oliver gives her a curious look, but she just shrugs like she’s seen other parents do when their kids are acting weird, and he gives her that lopsided smile and everything is okay again.

A month later, Nanako terminates the lease on her and Langa’s apartment, and they move their things into the small house Oliver owns. Langa’s a little confused about why Nanako says he can’t sleep with her as often as he used to now that they’re living with Oliver, but he doesn’t complain. After her, Oliver is his favorite person in the whole world.

They go to the ski lodge again for Christmas, and Langa barely stays off the slopes the whole time. He’s only seven now, but he snowboards better than people three times his age and with a decade more experience.

“He’s a prodigy,” Oliver says, watching him jump a worryingly high way into the air. “He could go pro.”

Nanako hopes he doesn’t. She doesn’t want him to attract too much attention to himself. “Maybe,” she says. “But he’s a little too spacey for that, I think.” Oliver laughs and puts an arm around her waist, letting her melt into his side. “Maybe.”

That Christmas, surrounded by the Campbell clan, Oliver gets down on one knee and asks Nanako to be his wife. Nanako can see Langa over Oliver’s shoulder, bobbing his head up and down like a bobblehead, and she lets out a wet laugh and says “yes.”

It’s a quiet wedding, at the cabin in Princeton, with just Oliver’s family and some of Nanako’s friends from work. They include Langa in all of their wedding photos, and he hugs Oliver and calls him “Dad” and Oliver almost cries.

This is it, Nanako decides. This is all she needs. Her husband and their son and the life they’ve made for themselves.

As long as no one finds out about Teiko.

Langa’s been very good about keeping it all a secret. He never talks about Teiko, or his Generation, or the powers that should have developed but never did. He doesn’t take his bracelets off around anyone, even Oliver, and when he has his nightmares, he quietly wakes Nanako up so she can slip out of bed and comfort him until he falls back to sleep.

Things aren’t perfect, but they work.

Until Generation Miracle is put back into the spotlight.

Nanako studiously never brings up the Miracles. Sometimes people will ask if she has an opinion on them, and she always says no. If a news segment is playing and talking about them, she’ll change the channel or turn the TV off. It’s been harder to ignore all the media attention lately, since Teiko’s more insidious designs are suddenly being brought to light. She’s not sure who is suddenly talking, or why, but she’s more than happy to bury her head in the sand and pretend it doesn’t concern her.

Until one day, when she gets home from work, and sees Oliver and Langa sitting on the couch and watching as a teenage boy with light blue hair and a calm fury Nanako only ever saw in one person says, “All we have ever wanted to do is be free.”

Nanako lunges for the remote to change the channel. Oliver squawks in surprise, but she kneels in front of Langa, who’s sitting rigid, like a stone, and takes his hands and says, “Are you okay, sweetie?”

He nods robotically, and she winces. He’s retreating. That’s not good. “Hey, baby, breathe for me, okay? In for four, hold for five, out for six. Just like we used to.”

Langa sets about his breathing exercises, and Oliver stands up, looking more concerned than she’s ever seen him look. “What’s going on? He got all quiet as soon as that news segment started.”

“Oliver, it’s a long story—”

“If my son is having a—a panic attack, or something, I think I deserve to know why!”

This is what she’s always dreaded. She has to come up with something. If she brushes him off, he’s just going to keep digging, but if she says something too complicated, she won’t remember what she said later and it will bite her in the ass. I shouldn’t have gotten him involved, she thinks, mournfully, already picturing the divorce proceedings and custody battle and Langa missing the only father he’s ever known. I knew it was too risky.

“GI-B423.” Langa gasps, and Nanako whips her head up towards him.

“Langa—” she starts, panic rising in her chest, at the same time Oliver says, “What?”

“My designation,” Langa says, he’s still clearly upset. “GI-B423. The twenty-third Black Four Project in Generation Infinity. Failed experiment. GI-B423…” He continues muttering, clearly back in that awful place, and Nanako throws her arms around him.

“Shh, baby,” she coos, rocking him back and forth, feeling him tremble against her. “That’s not you anymore, remember? You’re Hasegawa Langa. You’re eight years old, you’re in year three, and you live with your mom and dad in Squamish, British Columbia.”

She repeats this mantra a few times, drowning out Langa’s, until he stops trembling so much. His little hands grip her scrub top like she’s a liferaft in the middle of the ocean. She’s no stranger to this feeling; most of his nightmares result in a similar embrace. Her neck is damp from his tears and snot, but she keeps on rocking him, letting him cry himself out until he falls asleep.

Throughout it all, Oliver watches, silent.

Nanako carries Langa to bed and tucks him in for an impromptu nap, and braces herself for the awful conversation she knows she has to have.

Oliver is still sitting on the couch, silent, staring at the wall behind the TV. “Well,” he says, before Nanako has a chance to say anything, “a few things make more sense now.”

“Oliver…”

He looks at her, meeting her worried gaze, and sighs, opening his arms. She falls into his embrace readily, collapsing against his side. In his arms, she feels safe, like nothing can touch her here. “Tell me your story,” he says, playing with her wedding band, and she does.

Nanako won’t say things are perfect after Oliver learns Langa’s secret, but they’re certainly easier.

Now, when Langa has his nightmares, he can crawl into bed in between his parents and not have to worry about revealing anything he shouldn’t. Oliver’s always been better at calming him down, too, so having his help in soothing Langa’s nightmares is a huge deal. Nanako doesn’t have to be on the lookout for evil scientists or government agents all on her own anymore, now that Oliver is also keeping an eye out.

The three of them sit on the couch together to watch the coverage of the Special Diet, and when the Miracles are declared not dangerous, Nanako almost cries.

Maybe they can finally be free.

And so, the years pass.

Things are never perfect. They wouldn’t have been perfect if Langa wasn’t a genetically engineered child designed to be an assassin, but even then, things are a normal amount of imperfection. Langa still has trouble connecting with kids his own age, but not in a weird way, just a kid way. Nanako and Oliver have their odd disagreements, though they never go to bed angry. Oliver goes out drinking with his coworkers from the fire station more often than Nanako would like, but he never drives drunk and never gets angry or abusive, so she doesn’t try to make him stop. They get enough money to buy a larger house just outside of Squamish, and Nanako starts up a garden in the backyard in the spring and summer. In the winter, they spend more and more time on the mountain as Langa falls more in love with snowboarding.

And he does love snowboarding. He’s always pushing himself to go faster, jump higher, do more. Nanako is nervous that he might want to go pro, but he never brings the possibility up. He just wants to snowboard with his dad. He doesn’t care about the money or the glory or anything else. As long as he has his board and the snow and Oliver, he’s happy.

And then Oliver gets his diagnosis.

It starts small. He’s less hungry than he used to be, “But your food is as delicious as it’s always been!” he says with a flirty wink. The fifteen-year-old Langa rolls his eyes.

Then, he starts losing weight. He was always fit, with not a lot of fat on him, so when he starts losing weight, Nanako gets concerned. “You’re not trying to diet or anything, right?” she asks, staring at his narrower chest.

He shakes his head. “I’m probably just getting old, honey. We didn’t get to go on the slopes much this winter. I’ll start jogging to get my muscle mass back up, if that’ll make you happy.”

Langa goes on these runs with him. He’s always been an active kid, since Teiko was training them to be super soldiers, so he always has too much energy. The extra activity is good for him.

Oliver, on the other hand, doesn’t benefit as much from their daily jogs. He keeps losing weight, and every once in a while, he complains of abdominal pain. “No, Nanako, I’m not going to the doctor,” he says when she gives him a worried look. “It’s probably nothing.”

Then, on Canada Day, Nanako is woken up when Oliver bolts out of bed to be violently sick in their ensuite bathroom and notices his skin is jaundiced, and the next day she packs up him and Langa and they all go to the hospital together.

Liver cancer.

Stage 4.

Treatment options.

Life expectancy.

Langa shuts down.

Oliver deteriorates quickly after that.

He’s in the hospital more often than not, and when he’s admitted two weeks before Thanksgiving, everyone knows it’s for the last time. Nanako and Langa are there as often as they can be, sitting with him and holding his hand and desperately trying to pretend he’s not about to leave him forever. The nurses even buy Langa a cake when the three of them all collectively forget his sixteenth birthday.

When Langa is at school or sleeping in the waiting room, Nanako and Oliver go over his will. He’s leaving everything to Nanako, of course, but he says she should let his cousins come and take a look at family photos after she decides what she wants to keep. He also writes a letter for Langa, but doesn’t let Nanako read it. “It’s for him,” he says. “He should be the first one to read it.

“I don’t want a funeral,” he tells her, voice weak. “Don’t spend your money on that. Don’t make Langa go through that. Cremate me and bury me next to my grandparents, and go out to lunch after.”

“Okay,” she says.

“I wish this wasn’t happening.” For the first time since he got his diagnosis, Oliver starts to cry. “I don’t want to leave you and Langa. I want to see him grow up and fall in love. I want to see your hair turn gray.”

“I want that, too,” she says. She grips his hand tightly and lets her own tears roll down her cheeks. “How am I going to do this without you?”

He tries to crack one of his crooked grins. “You’re a smart lady. You’ll figure it out.”

A few nights later, Nanako and Langa are woken in the middle of the night, and they rush to the hospital. They get there in time for each of them to hold one of Oliver’s hands as he takes his last breath.

Like Oliver wanted, he’s cremated and buried in Princeton, next to his grandparents in the Campbell family plot. His parents take them out for lunch at a Swiss Chalet, and Langa barely eats. He has the letter Oliver wrote him clenched in his fist. He hasn’t read it yet; the envelope is still sealed.

Nanako won’t push. He’ll read it when he’s ready.

They go up the mountain that winter.

Langa stands at the top of the slope and stares down it. He does this for twenty minutes, and walks back to the lodge.

“We can’t stay here,” Nanako tells Barbara a few weeks after Christmas. “It’s—it’s killing Langa, being here without Oliver. He’s not eating, he’s barely sleeping…” She chokes back a sob, and melts into the warm embrace her mother-in-law offers her.

“You’ll always be family,” Barbara assures her. “Do what you need to do. We’ll always be here if you need us.”

“I’m thinking we should move back to Japan,” Nanako says to Langa later that night. She doesn’t really want to go back to Japan, but Teiko is gone. For good, now that the Miracles thwarted their attempt to build a new one near Hawaii not long after the Special Diet. There’s no reason not to go there, when that’s where they came from and the country in the world most comfortable with mutant children.

Langa, still blank, says, “Okay,” and then nothing else for the rest of the night.

They sell the house, find an apartment in Okinawa, say goodbye to the Campbells, and get on a plane to the country they fled almost ten years ago.

I hope I’m doing the right thing, Oliver.

#designation:miracle #sk8: the infinity #sk8 #langa hasegawa #nanako hasegawa #oliver hasegawa #ao3fic #my writing #my post #mine

3 notes · View notes

redsoapbox · 6 years ago

Text

Mitch Tennant’s Track-by-Track Guide to Head Noise’s Debut album, Über Fantastique

Mitch Tennant, singer/songwriter & keytarist with electro art-punks Head Noise, was kind enough to write this guide to the band’s recently released debut album Über Fantastique, especially for redsoapbox.

1. KINGDOM OF CROOKED MIRRORS

We had a lively debate at Head Noise HQ over which song to open the album with, either this track or the one that follows. We eventually decided on “Kingdom of Crooked Mirrors” to kick-start the debut as we think it encompasses all things Head Noise and has a great splattering of our influences in a catchy, oddball pop song. The title of the track comes from a 1963 Soviet fairy tale film and is loosely inspired by Lewis Carroll’s “Through the Looking Glass”. The song reflects our own mantra for creative passion and is also a look at an outsider’s perspective for abstract art and trying to make sense of the senseless. It’s like Alice In Wonderland without the drug references. Ignore the evils of the world and just let the childlike magic speak for itself.

2. 200,000 GALLONS OF OIL

I was on my lunch break one day surfing the web and a pop-up article came on-screen about fuel, oil refining and other industrial processes that I had very little interest in. However, the title of the piece “Pipeline Spills 200,000 Gallons of Oil” really jumped out at me. I wrote it down and put it aside with my collection of other alphabetical oddities that I type up on Notepad. A little while after, Wayne sent me an electropop demo with a bouncy, squelchy bassline which I felt matched up to this wording perfectly! The title of the song has some sort of political or eco-warrior ring to it but it’s always a surprise to people who question what the song is about, and we say “Uhh… It’s just about oil?” What kind of oil do you want it to be? I’ll leave that up to you, but here are some suggestions: vegetable oil, or maybe oil to slick back your hair.

3. JAPANESE BATTERIES

One Christmas, my partner gifted me an Otamatone, which is basically a screwed-up Theremin/Stylophone synth-like device that is in the shape of a musical note, however it looks more like a giant sperm! It’s become a popular instrument on Youtube for fashioning unusual sounding covers of songs, such as Boney M’s “Rasputin” and A-ha’s “Take on Me”. I was totally amazed by the packaging - it had a little Japanese man with fluffy hair, the inventor of the instrument, looking off into the distance, not unlike some surreal propaganda poster art. The song is, basically, a homage to this strange instrument, and it’s played on the track, not long after the first chorus, just to show off the unusual noises that it makes.

4. ANATOMICALLY CORRECT SHUFFLE

This is a song where I feel the bassline really helps to give the song a danceable bounce, that’s why the title of the track has “Shuffle” at the end of it. This is the first of the collaborations that we have on the album. Wayne sent me a demo he was working on with some bass being played by his friend “Monkey” (who I still haven’t met yet) under the working title “Monkey Jam”. When we started putting the album together, we were coming out of that mad scientist stage persona from the Microwave EP run of shows, so I had a whole lot of science stuck in my mind. I thought we’d go gung-ho as a farewell to the bygone days of false nerdy scholarship with a classic Head Noise sound to it. The lyrics for the song are like an amalgamation of a botched surgery, unusual ailments and chronic nightmares. Luckily, we have Brill onboard to give it that fun little jaunty undertone on the synth, to help keep us sane and avoid any potential lobotomies.

5. MYSTERY LIQUID

This is another Notepad scribble title that I just had to make into a song! When you hear songs about drinking, it’s usually either a fun affair (a drunken pub singalong) or a dark, cautionary tale (alcoholism), so we were looking to meet in the middle between jolly and sombre. I was influenced by Spike Jones & His City Slickers and their song “Clink! Clink! Another Drink”, especially for its humorous look at binge drinking from a 1940s perspective. It seems so harmless and funny, but it’s much more morally twisted if you look at it from the outside. With a bassline from our good friend Connor Llewellyn of Math Rock band “Common Spit”, the song turned into more of a fast-paced rocker with some added spoken word and Dada inspired lyrics from Cat Daczkowski who also plays in Rock band KASIA. I really liked her vocal style as it reminded me of Kim Gordon of Sonic Youth’s unique and unbothered singing approach, so we NEEDED it on the album somewhere.

6. AIRSTRIKE 4000

When I was young, I used to love my Sega Megadrive games console! I played games like Streets of Rage, Golden Axe and Desert Strike, but I got bored easily with Desert Strike because I wouldn’t always know what to do. I wanted to write lyrics that broke the fourth wall too, so the song starts out as a homage to a made-up Sega game in the style of Desert Strike. Then I get bored about halfway through and changed the theme of the song, just like when I was 8 years old and trying to play the bloody game before turning it off to play Sonic & Knuckles instead. It’s a Lo-fi retro Rock vs Synth song with some amazing guitar wobbles/shrieks from Brill and some wicked retro sounds darted across the duration of the track.

7. NITRO

When we were lucky enough to support “Public Service Broadcasting” last year at the Muni Arts Centre in Pontypridd, we wanted to go all out with a wacky elaborate stage show. We roped in our good friend Mark Strange to help us put together some surreal extras in the set such as a puppet show and a battle royale with Mark dressed up as a Ninja Turtle. We wanted to create our own little ‘introduction song’ for this show for when we walked onstage akin to Devo’s “Corporate Anthem” instrumental. So, Wayne put together our own track to help introduce the band as Mark walked out dressed in a lab-coat to inspect the equipment before we came on. There isn’t much else I can say about this track really other than performance is key! We decided to give the song a promotion from introduction song to intermission song which now sits about halfway through the album. In fact, that’s why it is called “Nitro”, it’s just an anagram of “intro” but with some dynamite flair!

8. SHRUNKEN HEAD

We used to open the live set with this song. It’s a song about idiocracy within the musical world, not too far off “Cherub Rock” by Smashing Pumpkins. The song is stacked with surreal imagery, which also includes a reworking of the “I Have No Mouth, and I Must Scream” phrase from Science Fiction writer Harlan Ellison as a pre-chorus. I think it’s important to have passion in what you do creatively, and you shouldn’t allow others to mistake that devotion for egotism. I went to “Ripley’s Believe it Or Not” oddity museum in Blackpool a couple of times over the years and I got to see a real (or ‘real fake’, you be the judge?) shrunken head in a glass case. Rhys Jones plays some cool guitar lines on this track which is like a mix between Egyptian rhumba and the live dissection of a squirrel. It is an interesting song and we like it very much.

9. INTRUDER-ESQUE

Have you ever had those nights when you’ve gone to bed and looked over at the other side of the room in the dark to see the blurred black outline of a wardrobe or a hanging coat? In a sleep-addled state, this can be terrifying and can lead to “sleep paralysis”. I thought it was an interesting subject to pick up on. We gave the outro to Lloyd Markham of Psych-Electro band Deep Hum to use as his personal synth playground and we love it! I think the entire track captures the vibe of uneasiness that you can get in a sleep-deprived state when you don’t entirely feel safe, with an unknown threat lurking in the shadows.

10. I EAT CANNIBALS

An old friend of mine said the Toto Coelo song “I Eat Cannibals” sounds like something Head Noise would cover, so we just went off and covered it. I think it goes a little hand in hand with “Shrunken Head” and its voodoo vibe. The track features fantastic backing vocals by Miss Cat Southall, singer extraordinaire! I’m a fan of bands who re-work covers to suit their own sound. We always have an unusual cover in our back pocket if things start to go pear-shaped! We’ve previously recorded songs by Sonic Youth and The Bangles.

11. MR. EVERYWHERE

This is a Rocker Wayne had been working on for a little while until we decided to give it more context and “beef” so to speak. It’s basically a punk song that’s been shaved down to a shouty rock song, with a little bit of synth here and there. The song’s lyrics simply reflect how busy we felt after we released the Special Effects EP and how being in a band can be a lot of stress as much as a lot of fun.

12. NO PHOTO | NO FILM | NO TELEPHONE

On a trip to Venice, I stopped by St Mark’s Basilica to see the famed “Horses of Saint Mark”. There was a sign near them saying “No Photo, No Film, No Telephone” which made me laugh. Anyway, the track was inspired by a warning sign, but is about the overuse of modern communication technology and the brief escape that we get from these devices. It’s crazy to see how much the world has changed in 20 years, so we summed it up quickly with a fully Electronic Pop song featuring a fun shout-a-long chorus.

13. COMPLY

Someone said to me recently “music has been intrinsically linked to politics since like forever!” and even though there is some truth in that statement, I refuse to believe that it is the most important reason for someone to enjoy listening to music. This is my own attack against people who like to moan and whine until they get what they want, whether it is logical or not. It’s our own protest song which protests protest songs. We’ve made sure the song is happy and upbeat, because ignorance is bliss, eh?

14. GAMMA GUTS

The spiritual successor to our single “Microwave”, in fact, it’s a loose sequel of sorts. I have a fear that there isn’t enough science behind the use of microwaves. I imagine that there are some harmful side effects, but it scares me to think that we might not have a clue. The song is split into two parts - the first is a goofy little Electro Rock song about the digestion of nuclear materials and then the second part is an electronic instrumental, orchestrated by the band Massa Circles. There are some beats donated by John Barnes and some shouts by Anthony Price too. The song reminds me of Eric Clapton’s “Layla” because it starts off as a fun Rocker and ends with an emotional instrumental akin to side 2 of David Bowie’s Low album. This is one of our favourite songs to play live at the moment because it gives us free rein to experiment musically.

youtube

Visit the archives section to read the album review.

0 notes

pardontheglueman · 6 years ago

Text

Head Noise / Uber - Fantastique

For the best part of 18 months Aberdare’s Electro Art-Punks Head Noise (Mitch Tennant Vocals & Keytar), Wayne Basset (Synths & Guitar) and Jordan Brill (Synths & Guitar) have been working away on their debut album Über-Fantastique, a record which they describe, in typical Head Noise fashion, as a ‘bombastic, electropop fever dream’. In a detailed, track-by-track guide, Mitch Tennant talked to Kevin McGrath about the record they are about to unleash on an unsuspecting Welsh public.

1. KINGDOM OF CROOKED MIRRORS

2. 200,000 GALLONS OF OIL

I was on my lunch break one day surfing the web and a pop-up article came on-screen about fuel, oil refining and other industrial processes that I had very little interest in. However, the title of the piece "Pipeline Spills 200,000 Gallons of Oil" really jumped out at me. I wrote it down and put it aside with my collection of other alphabetical oddities that I type up on Notepad. A little while after, Wayne sent me an electropop demo with a bouncy, squelchy bass line which I felt matched up to this wording perfectly! The title of the song has some sort of political or eco-warrior ring to it but it's always a surprise to people who question what the song is about, and we say "Uhh... It's just about oil?" What kind of oil do you want it to be? I'll leave that up to you, but here are some suggestions: vegetable oil, or maybe oil to slick back your hair.

3. JAPANESE BATTERIES

4. ANATOMICALLY CORRECT SHUFFLE

This is a song where I feel the bassline really helps to give the song a danceable bounce, that’s why the title of the track has "Shuffle" at the end of it. This is the first of the collaborations that we have on the album. Wayne sent me a demo he was working on with some bass being played by his friend "Monkey" (who I still haven't met yet) under the working title "Monkey Jam". When we started putting the album together, we were coming out of that mad scientist stage persona from the Microwave EP run of shows, so I had a whole lot of science stuck in my mind. I thought we'd go gung-ho as a farewell to the bygone days of false nerdy scholarship with a classic Head Noise sound to it. The lyrics for the song are like an amalgamation of a botched surgery, unusual ailments and chronic nightmares. Luckily, we have Brill onboard to give it that fun little jaunty undertone on the synth, to help keep us sane and avoid any potential lobotomies.

5. MYSTERY LIQUID

This is another Notepad scribble title that I just had to make into a song! When you hear songs about drinking, it’s usually either a fun affair (a drunken pub singalong) or a dark, cautionary tale (alcoholism), so we were looking to meet in the middle between jolly and sombre. I was influenced by Spike Jones & His City Slickers and their song “Clink! Clink! Another Drink”, especially for its humorous look at binge drinking from a 1940s perspective. It seems so harmless and funny, but it’s much more morally twisted if you look at it from the outside. With a bassline from our good friend Connor Llewellyn of Math Rock band "Common Spit", the song turned into more of a fast-paced rocker with some added spoken word and Dada inspired lyrics from Cat Daczkowski who also plays in Rock band KASIA. I really liked her vocal style as it reminded me of Kim Gordon of Sonic Youth’s unique and unbothered singing approach, so we NEEDED it on the album somewhere.

6. AIRSTRIKE 4000

7. NITRO

8. SHRUNKEN HEAD

9. INTRUDER-ESQUE

10. I EAT CANNIBALS

11. MR. EVERYWHERE

12. NO PHOTO | NO FILM | NO TELEPHONE

On a trip to Venice, I stopped by St Mark's Basilica to see the famed “Horses of Saint Mark”. There was a sign near them saying “No Photo, No Film, No Telephone” which made me laugh. Anyway, the track was inspired by a warning sign, but is about the overuse of modern communication technology and the brief escape that we get from these devices. It’s crazy to see how much the world has changed in 20 years, so we summed it up quickly with a fully Electronic Pop song featuring a fun shout-a-long chorus.

13. COMPLY

14. GAMMA GUTS

1 note · View note