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iam93percentstardust · 4 years ago

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what i know about you (would fill a thousand books)

A fic for @tonystarkbingo

Title of Fill: what i know about you (would fill a thousand books) Collaborator: iam93percentstardust Card Number: 4012 Link: https://archiveofourown.org/works/29378016 Square Filled: S4 - Sharon Carter Ship/Main Pairing: Carter-Stark Cousins, Stony, Natsharon Rating: G Major Tags/Warnings/Triggers: Established Relationship, Past Abuse, Insomnia Summary: Here is what Tony knows about Sharon: she tells people she likes blueberry muffins because she thinks it makes her sound grown up, but she prefers chocolate donuts. She likes wildflowers and lilies and violets, but Queen Anne’s lace best of all and that’s what Natasha had brought her for their third date that had tipped her from liking this red-headed spy into loving her. On bad days, she curls up on the couch with the softest blanket she owns and watches old cartoons.

Here is what Sharon knows about Tony: he used to love carrot cake but hasn’t touched it since the day his parents died while he and Sharon were out at dinner. He insists on always having her burner phone’s number when she’s a mission because the one time Fury told him he couldn’t have it, Sharon ended up with three broken ribs. He hates roses because they were what Tiberius always gave him after he did something like cheating on Tony or hitting him or mocking him in front of the press (Steve gives him blue poppies the same shade as the arc reactor and Sharon loves him for that). Word Count: 2284

Here is what the world knows about Tony Stark’s childhood: he’s born to Howard and Maria Stark and grows up surrounded by luxury. His father worked hand in hand with the Howling Commandos. Every year, Howard hosts a reunion for the Howlies, and ever since they’re introduced to a newborn Tony, they dote on him, despite Howard’s insistence that his son doesn’t need more people to fawn over him.

Here is what the world knows about Sharon Carter’s childhood: not much. The world doesn’t really care about a single blonde child. But here’s what Director Nicholas Fury knows about her childhood: she’s raised by a single father, who happens to be the nephew to one Margaret Carter, and when her father is killed in a car crash when she’s three years old, her great-aunt swoops in to take her in. Director Carter never explicitly says that she retires to focus on her great-niece but Fury is more than capable of reading between the lines.

Here is what only a few people know about both of their childhoods: Tony spends every summer at Aunt Peggy’s house until he goes off to MIT when he’s fourteen. He never tells her but those summers are the happiest times of his childhood. The year he turns ten, his idyllic summer is interrupted by the arrival of his favorite cousin, who has no idea of how to care for a newborn and needs his aunt’s help. Tony doesn’t know how to care for a newborn either, but he’s as enamored of baby Sharon as she is of him so he helps as much as he can.

By the time Tony leaves for MIT four years later, he and Sharon are closer siblings than Aunt Peggy’s known some flesh-and-blood siblings to be. She never tells anyone, but she counts bringing the two of them together to be one of the best things she’s ever done in her life.

Sharon’s exhausted by the time she gets back to Avengers Tower. She doesn’t really regret leaving her job at the CIA to take on being the Avengers’ liaison to the UN, but it certainly leaves her way more exhausted than her old job ever did. She gets it now, why Aunt Peggy had hated politicians so much.

It’s late, late enough that even JARVIS sounds weary when he welcomes her home as she steps onto the elevator. She leans her forehead against the cool metal wall as the elevator rises through the tower, dozing off just a little. Her phone chimes and Sharon pulls it out, smiling fondly as she reads Natasha’s text: Let me know when you land. Just like her girlfriend to send her a text asking her to check in. Natasha doesn’t know that she came back early, planning on surprising her for their anniversary tomorrow.

“Hey, JARVIS?” she asks.

“Yes, Agent Carter?”

“Don’t tell Natasha I’m back yet?”

“Of course. Only Sir and Captain Rogers are aware you’ve returned.”

In her sleep-befuddled state, it takes her a moment to realize why Steve would know she’s back. But of course, the team leader would need to be updated of the team’s whereabouts, even those not currently on the active duty roster.

“Thanks.”

The elevator stops and she steps out onto the team floors, intent on putting the chocolates she’d picked up in Geneva in the kitchen for people to swipe in the morning. The TV is playing softly in the living room and she pokes her head in, curious to see who’s still up.

It’s Steve, watching the playback from the team’s last mission. He perks up as soon as he hears her footsteps on the kitchen tile, only to droop when he realizes it’s her. It makes her pause, that reaction, and she sighs.

“How long has he been down there?” she asks.

“Three days,” Steve says quietly.

Here is what Tony knows about Sharon: she tells people she likes blueberry muffins because she thinks it makes her sound grown up, but she prefers chocolate donuts. She likes wildflowers and lilies and violets, but Queen Anne’s lace best of all and that’s what Natasha had brought her for their third date that had tipped her from liking this red-headed spy into loving her. On bad days, she curls up on the couch with the softest blanket she owns and watches old cartoons.

She has a habit of taking on more than she can chew and going into what she calls “anxiety spirals” when she realizes what she’s done that only Tony can talk her down from.

He always blames himself for things going wrong, even when there’s nothing he could have done, and he’ll stay up for days making sure that it never happens again.

Sharon sighs again. Three days ago, Clint fell off a ledge during a mission; Sharon had watched the fight on the UN’s monitors. Clint landed in a dumpster, which broke the worst of the fall, but he still ended up with a broken wrist. He won’t be joining the team on their missions for at least another couple of months while he recovers. If she knows Tony, he’s been down in the workshop ever since, working on something that’ll make sure Clint never breaks another wrist.

“Code not working?” she asks Steve. He shakes his head, looking exhausted down to his bones. “I’ll go down there.”

“You don’t have to,” Steve says quickly. “I know you’re tired.”

She smiles at him, appreciating how much he cares, but... “I’m sure you two are both tired as well.” He grins ruefully back at her, confirming that he hasn’t slept either since Tony disappeared into the workshop. “Someone has to drag him out, and I’ll bet he hasn’t thought about blocking my access.”

Here is what Tony thought the first time he met Natasha Romanoff: You tried to shoot her the first time you saw her. You are not worthy of my little sister.

Here is what Sharon thought the first time she met Steve Rogers: You told him you knew men worth ten of him. You are not worthy of my big brother.

Here is what Tony thought the first time he saw Natasha and Sharon together: You bring her chocolate donuts and Queen Anne’s lace and know to put on Sleeping Beauty when she has a bad day. You might not be worthy of her but I don’t really think anyone is, and she loves you, so if I have to choose anyone, it might as well be you.

Here is what Sharon thought the first time she saw Steve and Tony together: I still don’t know if you’re worthy of him, but you learned how to make cheesecake for him and you bring him poppies and you always make sure my phone number gets to him, even when Fury tells me I have to go completely dark, and he loves you, so if I have to choose anyone, it might as well be you.

The workshop walls are dark when she steps out onto the floor, but the door opens for her as easy as it always does, and she smiles. Maybe Tony didn’t realize he’d need to block her access too or maybe he just knows that that won’t fly with her, same as it won’t fly with Pepper, same as it wouldn’t fly with Steve if he ever realizes that he’s one of the few people Tony would let pull him from the workshop.

“You weren’t there to say hi,” she says as she steps inside.

Tony turns and blinks at her slowly, the shadows deep under his eyes. “I sent a car for you, didn’t I?” he says eventually but he’s missing the usual venom in his voice. He goes back to his work.

“That’s not the same thing.” She comes up behind him and wraps her arms around his waist, hooking her chin over his shoulder. Just as she’d suspected, he’s working on a new wrist guard for Clint, something sturdy enough to protect him from breaking his wrist but flexible enough it won’t inhibit his mobility. Sharon doesn’t really speak technobabble the way Tony does, but even she can tell that there are several mistakes in his formulas, probably from his lack of sleep.

“Steve misses you,” she tells him.

“I’ll come up when I’m done.”

“Or you can come up now and catch up on sleep. This will still be here tomorrow.”

“No,” he argues. “I have to make sure this is ready for Clint—”

“When will he be back on the duty roster?”

“Seven weeks, three days, and twelve hours,” Tony says automatically.

“And you don’t think this can wait another day?” she asks, raising an eyebrow skeptically.

Tony hesitates and then drops his head back onto her shoulder, saying to the ceiling, “I can’t sleep.”

Sharon wrinkles her brow. She knows that already, but Tony is already shaking his head.

“I mean, before…all this,” he explains, waving a limp hand in the air in the vague direction of the plans for Clint’s wrist guard.

Oh.

This happens sometimes, she knows. Tony’s insomnia acts up and he’ll spend a few days in the workshop, unable to sleep, or working from his bed because he thinks he should at least spend some time there. But as far as she knows, this is the first time it’s acted up while he’s been with Steve, and knowing Tony, he’s probably worried that Steve won’t like it if Tony spends all night in their bedroom working on his tablet. A silly concern really, she thinks Steve wouldn’t care if he was in literal hell as long as he was there with Tony, but Tony gets in his head about things like this.

“Well,” she begins hesitantly, “I won’t say that going to bed with your boyfriend is a sure way to get you to sleep, because that’s ridiculous, but I know that Steve’s been up as long as you have because he’s worried about you. So maybe you could go up there so he could get some sleep?”

Tony tilts his head to look at her. “He has?”

Here is what Tony knows about Sharon: there isn’t a thing in the world she wouldn’t do for Natasha.

Here is what Sharon knows about Tony: there isn’t a thing in the world he wouldn’t do for Steve.

She steps off the elevator for the third time that night, Tony trailing behind her. He brightens as soon as he sees Steve, stumbling past her into Steve’s waiting arms. Steve leans down and kisses the top of Tony’s head before shooting Sharon a grateful smile.

She winks back at him and then heads for the team’s private elevators, only available from this floor and the only way to reach their rooms. Grabbing Tony hadn’t taken too long but it’s still longer than she’d like when she has Natasha waiting for her in their bedroom. Tony’s all taken care of, Steve more than up to the task, so she can head to bed now.

Her and Natasha’s floor is almost entirely dark when she finally reaches it, except for a small sliver of light stretching out from underneath their bedroom door. Sharon navigates the floor easily, stepping around the furniture she can’t see and over the heels she’s sure Natasha has left lying around.

The bedroom door swings open before she reaches it, revealing her beautiful girlfriend framed in the light. Sharon smiles and reaches for her, cupping Natasha’s cheek in her hand as she kisses her.

“Hello, beautiful,” she murmurs. “I’m back.”

“Early,” Natasha remarks, clearly surprised.

Sharon shrugs. “It would have been earlier but I had to make a stop to pick up Tony.”

Natasha’s expression clears. “Steve’s been worried about him.”

Sharon nods. “That’s why I dragged him out.” She lets Natasha pull her inside their bedroom, herd her into the shower, and rinse off. Neither of them are much in the mood for a lengthy shower, so as soon as Sharon considers herself clean enough, she turns the water off, deciding that she’ll take another shower when she’s better rested.

They collapse into bed, Natasha curling around Sharon as soon as they’re situated. Sharon’s phone chimes once with a soft text message. She reaches over to the dresser, intent on turning the phone off, only to smile when she sees the message from Steve—a picture of Tony curled up, sound asleep on his bed.

“Turn it off, babe,” Natasha says sleepily, and Sharon would never deny her anything, so she does, and then wraps herself around Natasha.

Here is what Tony knows about Sharon: she is loved, by Aunt Peggy and Nick Fury and the agents under her command and Clint and Natasha.

Here is what Sharon knows about Tony: he is loved, by Aunt Peggy and the Avengers and Pepper and Rhodey and Steve.

Here is what they know about each other: they are loved, by a thousand other people, but by each other most of all.

#alle writes #tsbmiv #stevetony #natsharon #tony & sharon #if you like please consider reblogging

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aelaer · 5 years ago

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Illuminating the Shadows: Ch 2

Major Characters: Stephen Strange, Tony Stark, James “Rhodey” Rhodes, Wong, Vision

Rating: Teen And Up Audiences (primarily for language)

Category: Gen

Relationships: Friendships between the five above; minor Tony/Pepper, and Vision/Wanda in the background

Summary: Stephen and Tony begin their partnership together to hunt down and capture Stephen’s villainous counterpart. As they devise ways both technological and arcane to find him, they get to know each other further, and go through significant steps in both gaining each other’s trust. But can they start working together fast enough to track down the evil Strange before he strikes again? Part 4 of Earth-197320

Chapter 2: A Clear Reminder of How It Began

It was nearing the end of the first week of December, marking a month since Stephen had started working with the three individuals that made up the remaining operating Avengers, though the work truly had only begun in earnest last week. After their first strategy meeting with everyone gathered, Wong had yet to return to the Avengers Compound while Stephen had been over twice again, more or less establishing himself as the main point of contact. He was fine with this; Wong had so many other things on his plate in rebuilding and helping to manage the Order, and all that alongside keeping track of mystical threats meant that he had little time to spare for anything else. Besides, Stephen felt rather responsible for his other self and if anyone was to spend time stopping him, it should be, well, himself.

He went over to the Compound largely to further study the sensors for his own tracking spell research. It was difficult to do without all of the resources from the Sanctums, but he was determined to make all the headway he possibly could. When he first visited on Sunday, much of the time was accompanied by Tony's technobabble regarding the sensors. He didn't particularly mind; some of the insights were helpful. He also provided several portals for the engineer when Tony was tweaking the software during this time and needed to compare data sets. On his second visit on Tuesday, Tony was more muted than in his previous visits; when Stephen saw he was working on the magic-dampening cuffs, he left him mostly alone to his work.

Logically, Stephen knew that the cuffs would have to be brought up to snuff to better contain Strange, and that it was something that should be done sooner rather than later. Logically, he knew that he should be the one to test them. But being imprisoned in such a manner as he had been but six weeks previously still left his throat dry and while he knew that Tony would take them off him the moment he asked, the thought of being so… vulnerable again absolutely galled him.

Hopefully Tony wouldn't be working on them that day. It was now Friday, and Stephen's duties were done for the day. He decided to meet Tony and the others, if they were present, an hour earlier than planned. More time to get more work done was what he figured. He quickly made a portal to the Compound's workshop, as he had done twice before that week.

Read More on AO3

#stephen strange #tony stark #james rhodes #vision #wong #mcu fanfiction #avengers fanfiction #doctor strange fanfiction #my writing #my fanfiction #gen fic #genre: drama

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megabadbunny · 5 years ago

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Cosmic Love and Monsters (3/?)

(Just how much has this place changed him? What has this place done to him?)

(sfw version on ff.net; full tags and info on ao3)

Chapter 1 | Chapter 2 | Chapter 3 | Chapter 4

***

Chapter Three: The Empty Man

It’s surreal, how quickly they lapse into some of their old patterns.

(It’s strange, how they don’t lapse at all into others.)

After sprinting down a series of halls and staircases down to his workshop (or “the dungeon” as the Doctor refers to it), without so much as a glance back to see if Rose can keep up in her gown and heels (she can’t, so she slips the heels off and gathers them in her hand with her skirts while she runs), the Doctor pores over the dimension-hopper by the light of a crystal lamp. Breathless with anticipation, squirming in her uncomfortably tight bodice, Rose slips the shoes back on, pulling up her skirts and a stool so she can watch him work.

Swap out the gown for jeans and a hoodie, the surrounding stone walls for coral, and add a rumbling background hum, and they could almost be back on the TARDIS, chatting while the Doctor cobbles together spare bits into some kind of miraculous invention to help them on their adventure to Jupiter or Zrallor X or The Low Kirchief’s Gilded Mausoleum. Or more accurately, Rose tries to chat; the Doctor seems too intently focused on his project to provide satisfactory answers to very many of her questions, brow furrowed and lips pressed tight as he tinkers with the hopper here, makes adjustments there. A pity—after all her work on the Cannon, Rose might actually understand a bit of his technobabble for once (though her suggestion of such just makes the Doctor bark out a short and disbelieving laugh. Still rude, then). Eventually, Rose abandons any attempts to talk shop, casting aside technical anecdotes for information on the Doctor’s last few years, specifically how he ended up here.

(To say this task is like pulling teeth hardly does it justice; it would be more accurate to say the job is like trying to get an unwilling patient to admit they have teeth in the first place.)

“Okay,” Rose says, “so, let me get this straight. The stars going out was just a byproduct of your standard run-of-the-mill Dalek nonsense.”

“Yep.”

“But all that’s resolved now thanks to you, via the usual hand-waving and time magic.”

“Yep.”

“And now all the Time Lords are back somehow, too, cos why not.”

“Yep.”

“And as thanks for all your hard work, they exiled you here, to a prison planet?”

The Doctor heaves an impatient sigh. “Yes, quite. Good to see you’ve maintained your ability to memorize and regurgitate basic information over the years.”

Rose chooses to ignore the barb; if the Doctor has been imprisoned here as long as it seems, it only makes sense he’d have misplaced a couple of social norms—not that he ever kept particularly good track of them to begin with.

“Why, though?” Rose asks.

Shrugging, the Doctor slips on a pair of specs, squinting at the half-disassembled dimension-hopper splayed open on the table before him. Something about its guts exposed to the open air and shining bright beneath the worklamp reminds Rose of a frog being dissected in health class, makes her feel a little queasy.

“Fear,” the Doctor eventually replies, prying out a piece of the hopper with a pair of fine tweezers. “Fear, plain and simple. I have, on occasion, made things a little difficult for them, you see.”

“You? Never,” Rose teases, bumping his shoulder with hers.

Behind his specs, the Doctor’s eyes flash with something that could almost be annoyance, but maybe it’s just a trick of the light. “Couldn’t properly control me, couldn’t properly kill me—it never quite seems to stick, even if it’s a death of the supposedly-permanent variety,” he muses. “Not to mention you never know when a spare genius may come in handy. So, what do you do with the errant Time Lord who’s simultaneously responsible for your inconvenient time-death and subsequent joyous resurrection?”

The hopper lying in pieces in front of him, the Doctor scans each in turn with the sonic, which, Rose notes with a small pang, looks every bit as different from its previous incarnation as the Doctor does. “Why, you make an example of him, of course,” he continues cheerfully. “Strand him on some backwater rock full of barbaric rubes in some unknown corner of the universe, enclose the entire thing in an impenetrable looping EMP field that fries the gears of any kind of transport more technologically advanced than a rowboat, and point and laugh at him while he lives out his remaining regenerations without the ability to so much as reconfigure a Time Rotor, much less wreak havoc across the universe.”

He wrenches apart a spare component with perhaps more force than is entirely necessary. “The perfect punishment for the perfect fucking crime,” he mutters, grimacing in disgust.

The cursing surprises Rose a little—has she ever heard the Doctor properly swear before?—but even the Doctor has got his limits, Rose knows, and his time on this so-called barbaric planet must have taken its toll. She wonders exactly how long he’s been here in this nameless place, wherever and whatever here actually is.

(She wonders what has happened to him in his time here, how much a place like this could change somebody.)

“So, tell me more about this prison planet,” says Rose, glancing at the marble walls all around them, painted in flickering shadow by the crystal worklamps. “It’s all sort of posh for that, isn’t it?”

“I think you and I have got different definitions of posh.”

Rose laughs. “I think you and I have got different definitions of prison. Or do all Time Lord jails look like something King Arthur’d live in? And why all that bit out in the arena, anyway? Is it some sort of twisted Time Lord entertainment thing?”

“You really don’t let up with the questions, do you?” the Doctor says irritably.

Taken aback, Rose furrows her brow in concern, but she must have misinterpreted his tone, because not a second later he’s shooting her a wide, winning smile, one she can’t help but return. It’s like magic, the way her lips stretch to mirror his, like she couldn’t stop even if she wanted to. Thank god some things are still the same.

“What?” she asks, laughing.

“Oh, nothing.” He returns to his work, but his smile stays firmly in place, as if plastered there. “Had a bit of déjà vu is all. Scoping out evidence and piecing together the clues, just like the good ol’ days. Rose and the Doctor.”

“The old team,” Rose supplies.

“Holmes and Watson,” the Doctor beams.

“Elton and Bernie.”

“Jekyll and Hyde.”

“What on earth’d you want to be them for?” laughs Rose.

“Why not?”

“Isn’t one of them a beast? Just a wild animal in the shape of a man?”

The Doctor chuckles. “Well, that pretty much describes you, doesn’t it?”

“Oi,” Rose laughs. She’s a little disgruntled at the insult, but she playfully swats his arm all the same. “Don’t go saying any of that ape stuff again. That’s one thing from my first Doctor that I don’t miss.”

“Your Doctor?” the Doctor asks slyly, one eyebrow piqued.

Warmth blossoms across Rose’s cheeks as she registers the implications of her statement, his reaction after. But rather than scoot it under the rug like she would have done once upon a time, when she was so much younger and still had so, so much to learn, she simply looks the Doctor square in the eye, and smiles.

“Yeah, that’s right,” she says, her stomach flipping funny little somersaults in her gut all the while. “My Doctor.”

The Doctor chuckles deep in his throat, a funny little noise that would sound patronizing coming from anyone but him. “Been thinking like that for a while now, have you?”

“Might’ve done.”

“Rather possessive of you.”

“Pretty rich coming from He-Who-Glowers-At-Pretty-Boys.”

“Good point. Maybe it’s my Rose instead, ever think of that?”

Her stomach flutters. “Nah, my Doctor’s got a better ring to it.”

“Hmm,” he replies thoughtfully. Braiding together bits of wire, the Doctor furrows his brow in concentration, his tongue peeking pinkly between his teeth. Rose can’t help but wonder if he subconsciously absorbed the gesture from her. “Don’t know if I’ve ever belonged to someone before.”

“How does it feel?”

The Doctor glances up at her. “Risky. But I’ve always liked a bit of danger,” he says, with a wink.

Warmth floods through Rose and she beams at him like an idiot as the hopper beeps in his hands, a cheerful tweet-a-tweet-tweet that makes the Doctor whoop and slap his thigh. “And that right there, do you know what that sound is? That’s the new EMP-resistant multi-passenger pre-initialization process, letting us know we’ll be ready for a jump out of this hellhole any moment now,” the Doctor says gleefully. “That, Rose Tyler, is the sound of victory. We do indeed make quite the team, don’t we?”

He holds the half-disassembled hopper out to her expectantly, his smile radiating pure joy, and maybe it’s just the tightness of her corset taking her breath away, but it’s like all the air has left the room. He may look and sound like a stranger, his edges may be rough and his words too, but he’s the closest thing to the Doctor that Rose has seen in years—he is the Doctor—and Christ, does Rose want to kiss him—so that’s exactly what she does. On impulse, her heart hammering madly in her ears, she leans forward, accepting the hopper as she bridges the distance between them so she can press the gentlest of kisses to the Doctor’s lips.

Fighting the emotion that threatens to well up upon first contact—the nights of longing and waiting and pining and hoping, the brief handful of moments in which she allowed herself to imagine that any of this might be possible, what it would all look like, how it would all feel—Rose closes her eyes, preparing to lose herself in the kiss. To happily drown. But no more than a second after her lips touch his, the Doctor violently jerks back, punctuating the air with a knife-sharp gasp as he scrambles away from her.

The two of them stare at each other, wide-eyed, Rose frowning in confusion, the Doctor watching her warily, wide-eyed. He looks for all the world like someone who’s just had a nasty electric shock, a caged prisoner backing into the corner after a bad bout with a cattle-prod.

(Admittedly, she hadn’t given him much warning, but how had she managed to misread the moment so badly? How had she managed to so badly misread him?)

“Erm, sorry,” Rose says shakily, her toes clenching uncomfortably in their pumps. She runs a hand through her hair, her cheeks flushing flame-red from embarrassment. “I just assumed…”

Chest heaving with exertion, the Doctor watches her wordlessly, eyes wild and unblinking. Rose wonders. It’s a bit much, isn’t it, his reaction? She understands if her actions caught him a little off-guard, but surely a mere chaste kiss wouldn’t be enough to throw someone so violently off-kilter. She remembers Cassandra using her hands to draw him close and practically snog his face off, apropos of literally nothing, and certainly he was a little stunned afterward, but nothing like this. Nothing at all like this.

“I’m sorry,” Rose repeats.

(Just how much has this place changed him? What has this place done to him?)

“Doctor?” Rose asks when he doesn’t respond, concerned. “Are you all right?”

A quiet knock at the door breaks the Doctor’s manic silence, and secretly, Rose is glad for the distraction. “What is it?” the Doctor snaps, causing Rose to jump.

“So sorry, your Lordship,” peeps a timid voice on the other side of the heavy wooden door. “But you said if we had any news—”

Within several long strides the Doctor has crossed the room, yanking open the door to reveal a furry mammalian young attendant trembling in the hallway. It’s difficult for Rose to make out the Doctor’s words, his back turned to her and his voice as low as it is, but she can see in the sharp set of his shoulders that he’s working to hide tension, nearly trembling with the effort of keeping himself calm.

“What did I say about interrupting me here?” Rose can just barely hear him say.

The attendant shrinks away from him, unable to meet his gaze. “You said Never ever, your Lordship.”

“Excellent, so your hearing is unimpaired at least, as is your memory. Why, then, are you darkening my door now? Which part of never or ever escaped your understanding? What part of my instructions did your Cretaceous-era brain manage to so woefully misconstrue?”

The attendant’s gaze flickers down to the sonic, lying prone on the table where the Doctor dropped it, and she flinches. Rose wonders at that.

“But, my Lordship,” the attendant stammers. “You also said that—”

“It’s Your Lordship,” the Doctor snaps, and the attendant shrinks away from him. “And you would do well to remember that.”

He slams the door in the attendant’s face before she can reply, heaving an irritated sigh. For a moment, he just stands there, face to the door, muttering under his breath, ostensibly to himself, though Rose honestly can’t tell—she can’t make out anything he’s saying, now. She’s willing to bet it’s nothing good, though.

(Nothing about this feels good.)

Rose shakes herself. She’s being unfair. Surely that’s it. He’s just a little different now, that’s all this is. He’s a little different, new body, new personality, landlocked on a new and horrible planet, but he’s got all the same experience, the same memories, the same important stuff, and she’s just having trouble adjusting.

It’s not him. It’s her. It’s got to be.

Besides, it isn’t unlike the Doctor to be inconsiderate, rude, even a little cruel at times, much as Rose hates to admit it. He is, after all, the man who took her to see the destruction of her home planet for their first date, who touted the nonconsensual use of dead bodies as “recycling” and seemed to think that life as a paving slab was, in any way, acceptable—the same man who agreed to let her watch her father die in the street, who destroyed Harriet Jones’ life with only six simple words and no second thoughts. Surely this behavior isn’t any worse than what Rose has witnessed before, or there must be context that she’s missing, or his time on this planet has been harder on him than she knows. Maybe he’s rankled by his powerlessness here, or maybe he has grown numb to it all, yet another series of tragedies marring a landscape already pitted and scorched with death and loss. Maybe it’s the Time War all over again and he’s actually sad and weary behind that ever-present smile, secretly crushed beneath the great stone wheel of resignation as dozens or possibly hundreds of people die in the sand before him day after day—which is something he surely doesn’t have any control over, or surely he would have stopped it by now. Surely Rose is just overreacting to things.

Surely the suspicion slowly ramping up in her gut is wrong.

(Why would that girl look at the sonic like she was afraid of it?)

“Boy, I tell you, the help these days,” Rose says, forcing out the joke despite the nausea rising in her throat. She grips the hopper a little too tightly. “Downright shame, isn’t it?”

(Please, please let him know it’s a joke.)

She throws her hands up in the air helplessly. “What are you gonna do?”

“Tell me about it,” grumps the Doctor.

Rose swallows. “A little useless, aren’t they?”

“Preaching to the choir.”

“You’d think they’d have at least a little respect for your Lordship.”

A sigh. “Yes, you would think that, wouldn’t you?”

“Why do they call you that, anyway?” Rose asks, fighting to keep her voice casual. Inconspicuous. Her grip around the hopper is slippery with sweat, and suddenly her gown is claustrophobic, clinging to her, strangling the air out of her lungs even worse than before. “I mean, probably just because of the whole superior species thing, right? Everything just sort of falling into its natural order, you rising to your rightful place at the top?”

“Something like that, yeah.”

“Uh-huh. Except, I thought you said you were imprisoned here?”

“Oh, I was,” the Doctor mutters darkly. “I may be at the top of the food chain in this dungeon, but it’s still a dungeon, believe me.”

“Yeah, right,” says Rose, her breath tightening in her throat. “Is that why that girl was so afraid of you just now?”

The Doctor’s head quirks back in her direction, but he doesn’t turn back around to face her. Instead, his shoulders tighten, almost imperceptibly. “Couldn’t tell you, really,” he says. “Probably just your standard barbaric fear of tech and anyone associated with it. Likely the dratted thing hasn’t so much as come in contact with a toaster before I arrived. But it is little more than a circus animal, after all.”

“Makes sense,” Rose says coolly despite the several thousand alarm bells that have begun ringing out in her skull, because when has the Doctor ever referred to a sentient being as it? “‘Cept you said earlier that all your machines were gone. But you’ve got a sonic right there.”

The Doctor faces her with a shrug and a grin. “Just built a new one, didn’t I?”

“Of course, makes sense, what with all the materials available to you here, the barbarism and the nothing-more-advanced-than-a-rowboat and all.”

“Oh, you know me,” says the Doctor, plucking his screwdriver off the table. “I’m resourceful.”

“You’re off, is what you are,” Rose insists, stepping back.

Eying her suspiciously, the Doctor laughs. It’s a surprisingly nasty sound, nothing like before, and did his teeth always look so sharp, or so many? “What a curious little human,” he says, tucking the screwdriver away before wedging his hands in his pockets with a tight squeak of leather against wool. “Careful, now, or you’ll say something I’ll regret.”

“Sort of like calling the TARDIS a machine? Since when does the Doctor do that?”

“Since now,” replies the Doctor, his grin broadening.

“And since when would you let something like a missing TARDIS stop you from doing what’s right, anyway?” Rose asks, backing away further, watching the Doctor as he follows after. Slowly, like a lion in tall grass, stalking its prey. Rose doesn’t stop until the worktable is solidly between them.

“Why haven’t you stopped those fights in the arena, Doctor?” she asks.

She swallows. “Are you even really the Doctor?”

“What a question!” the Doctor laughs. “A man changes his face and his voice and his personality and all of a sudden he must be a new person, mustn’t he? What a narrow conception of personhood, what an over-simplified view of the world, what a narrow little mind you have, Miss Tyler.”

Then he leans in over the table, his lips stretching thin and wide like a cheap Halloween mask. “Though I will admit, I’m not quite feeling myself these days.”

Rose’s grip tightens on the hopper till her arm shakes with the force of it.

“Who are you?” she asks quietly.

Before the Doctor—or the man who used to be the Doctor, or the man pretending to be—has a chance to answer, the hopper chirps in her hand once more, another chipper tweet-a-tweet-tweet, tweet-a-tweet-tweet shattering the silence. Pulse roaring in her ears, Rose acts without hesitation, smacking the button that will take her home.

And—

Nothing.

Horror washes over Rose like a tidal wave as the man chuckles under his breath.

“Pity,” he murmurs, clicking his tongue in disappointment. “But you know what they say; If at first you don’t succeed—”

Rose bites back a gasp as the man’s gaze flickers up to hers, his eyes dark, now, boring into her like a pair of cold-burning fires.

“Shall we try again, my love?” he asks, mouth curling into a smile, and the second he lunges for her is the second Rose hurls the hopper to the ground and shatters it with her heel.

Quick as a blink, Rose darts off and grabs a tool off the table to chuck at the man’s face but suddenly white-hot pain lances violently through her neck and head, sharp enough that she drops her makeshift weapon with a clang as she doubles over. Glowing white tendrils arc through her vision like lightning before receding, taking the pain with them. Gasping, Rose tries to stand, to run, but the pain strikes again, so hard it throws her to her knees.

“What—” she tries to gasp out, but the pain surges again, like a fire spreading from her throat to her skull to each and every nerve ending in her body, leaving her spasming and helpless. Through the haze of hurt and shock, Rose looks up to see the man aiming his sonic at her—at her collar. The collar that’s so much like the one the attendants all wear, Rose realizes belatedly.

And that girl saw the sonic screwdriver, and she was so afraid—

Swearing, scrambling backward over the floor, Rose reaches up to tear the damned collar off her neck but the man hits her with another blast from the sonic, one strong enough to make her shout. The pain strikes like a lorry, twisting and wrenching her muscles and clenching the air from her lungs. Choking, Rose slumps to her hands and knees. Black bleeds into the edges of her vision, ink creeping in at the corners, and she knows she hasn’t got long before her body surrenders.

“Who are you?” she spits out, fighting for air, for control, for anything.

“Finally! A question worth asking,” the man chuckles. “Though to be quite honest with you, I haven’t really had a proper name for a while now.”

Rose can’t make him out through her darkening field of vision, but she can hear his footsteps approaching, swears she can hear his smile, stretching wide and vicious over rows of eager teeth.

“But,” says the man’s voice, suddenly very close now, “you can call me Master.”

His laughter is the last thing Rose hears before darkness swallows her.

***

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wordsnstuff · 6 years ago

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20 Mistakes To Avoid In Science Fiction

This is also available on wordsnstuffblog.com!

– This is a continuation of a series that began with 20 Mistakes To Avoid In Young Adult Fiction/Romance. I included a couple exterior sources throughout the article that covers certain points in more detail for those who would like further advice. I hope this is helpful. Happy writing!

–Patreon || Ko-Fi || Masterlists || Work In Progress || Studyblr || Studygram

Referencing Current Culture Inappropriately

Not all references to pop culture are misplaced in sci fi. For instance, in Ready Player One, it’s integral to the plot. However, it’s random references to political things or important people that do not have anything to do with the movement of the plot or are misplaced within the context of the universe. This can bring your reader out of the story and confuse them in terms of world building and basic information about the history of your constructed universe.

Not Understanding Space & How It Differs From Earth

Do your research about space if you’re writing about space, and learn about how different planets work, the rules of physics, the laws of gravity, the conditions in other parts of the galaxy, etc. This information is available to you in may places and in many formats that are broken down simply for you to understand, especially for writers. You just have to look for it. I actually have a resource master post called “Resources For Writing Science Fiction” that would be really, really useful for this.

Putting No Thought Into Aliens

Aliens shouldn’t just be modified versions of humans. Coloring a human purple doesn’t make them interesting. Think about the environmental factors on the alien’s home planet and how those conditions would affect their biological makeup and physical/mental features. Take the time to do this, because readers appreciate it when it’s done well.

Technobabble

This is just a word for technological-sounding gibberish that writers put into their book to make it sound legitimate. However, what a lot of them do not realize is that science fiction readers are often interested in science, and therefore know that it’s 3 sentences full of nothing. This is okay in some circumstances, but it can never hurt to do 10 minutes of googling to maybe learn a bit about what you’re about to feed to the reader before writing it. Technobabble is really useful for writing the first draft (where you’re just telling yourself the story to have something to develop), but it shouldn’t live past that point.

Conlangs (Unless You’re A Linguist)

Do not take on constructed languages if you aren’t ready for years and years of study and practice with linguistics, because your conlang will flop. J.R.R. Tolkien, who is famous for not only his series Lord of The Rings and his novel The Hobbit, but also the invented languages within them. He had a long career in linguistics and was well-versed in it, and that is why they’re such a sticking point of his works. It took years of study and practice to create the conlangs in those books. Conlangs are no game.

Prologues

Most authors do not like prologues for a plethora of reasons, but with science fiction there’s really not a good justification for having one. Start where the action is and input the important highlights from the past as they become important to the reader’s understanding of the present.

Info-Dumping

Long paragraphs or pages upon pages describing the setting or the way the character is feeling and so-on has no place in any book, let alone science fiction which is already packed to the brim with detail no matter what. Sprinkle detail in as it becomes relevant instead of getting it all out in one spot and then expecting the reader to see the significance in every one.

Over-Explanation

It’s good practice to avoid over-description of things that don’t matter. The general rule of thumb is show, don’t tell, but also, don’t bore the reader with 3 sentences describing each button on a control panel that the main character walks past once and never appears again.

Overly-Complicated Names

This is simply a pet-peeve of a lot of people, and it doesn’t really add anything to your story. It’s cliche and kind of laughable when a writer names their character “Celeste Apollo Saturn” or something like that. Sure, it makes you feel original, but it doesn’t add to the reader’s experience much. It’s okay to have unique, space-themed names, just don’t overdo it.

Not Exploring

Overthink your world. Overthink your characters. Overthink the details. Explore all the possibilities. The better you know your world and everything in it, the more vivid your storytelling will be, even if 80% of the details you’ve explored are left out. You should be an expert in your story, because that will make you tell it better.

Regurgitating Popular Sci-Fi

Please don’t rewrite Star Trek, Star Wars, The Avengers, etc. and just change the names. There’s a difference between taking a trope or a popular type of science fiction story and putting your own twist or speculation on it, and handing your reader a book version of an existing story.

Not Thinking Critically About Fictional Elements

"Apply logic in places where it wasn’t intended to exist. If assured that the Queen of the Fairies has a necklace made of broken promises, ask yourself what it looks like. If there is magic, where does it come from? Why isn’t everyone using it? What rules will you have to give it to allow some tension in your story? How does society operate? Where does the food come from? You need to know how your world works."

- Terry Pratchett

Underestimating The Audience

Your audience can deduce things, and doesn’t need every implication explained to them. You don’t need to beat the symbolism and implications into their brain by constantly alluding to it or reiterating it in a million different ways. Subtext is important, and it should be left as subtext, otherwise there’s no need for thinking about the story and your reader will forget it (or worse, be irritated by it).

Leaving Plot Holes Because You Think Nobody Will Notice

Don’t do this. Just don’t. There’s always going to be someone who notices even the most minute details that are not explained when they should be, and then shares with a friend, and then it becomes a thing. If the thought “eh, I don’t have to include this detail because nobody will notice that this whole scene is ridiculous without it” crosses your mind, kill it. However, there’s a difference between a plot hole and a detail that was cut due to irrelevance, and that’s explained in the next point.

Forgetting To Actually Deliver Information

You, after months or even years of planning, may forget to include important details for the reader’s understanding due to the fact that overtime they seem so obvious to you. Be careful about this, and make sure that every scene you write is set up with the information the reader needs to know in order to understand what’s going on. This is easy to do as long as you have someone on the outside who can tell you where things get confusing and where the holes are.

Putting World Building Before Storytelling

You’re telling a story, and it’s important that you have an actual story to tell before you develop the world around it. Not every detail you plan out will be relevant to the story and won’t make it to the final draft, and that’s okay. Put the story first, and don’t sacrifice the reader’s focus to add detail that doesn’t enhance the story, because it will take away from it instead.

Poor Choice Of Writing Style

point of view, tense, person You should be very careful about the stylistic decisions you make about the way in which you will deliver your story to the reader, because this is often what makes sci-fi convoluted and boring. The three main details you need to decide on carefully are which point of view you tell the story from, so which character you’re choosing to focus on, the tense (past, present, or future), and person(first, second, or third). Most stories are told in third person surrounding the main character in past tense. Future tense and second person are pretty rare, but can be pulled off by authors who are willing to take on the challenge (though I don’t recommend it if you’re not willing to do a lot of problem solving and workshopping in following drafts).

Ignoring The Speculative Aspect

When your story deals with something like, say, time travel, you need to not only imagine the implications for your characters’ present, but their future along with everyone else’s. You also have to recognize that small changes may have a butterfly effect, but the universe has a way of straightening history out, and not all of them will have eternal lasting effects on the future. You’re speculating, and speculating doesn’t stop at how your characters’ situations change at the immediate moment, but also in the long run, as well as what implications come with each new detail you change between your world and ours.

Not Planning

This genre is not for the writers who identify as pantsers rather than planners. This genre is very, very difficult to approach as even a very organized author, and its readers are typically very observant and nit-picky. That isn’t a bad thing. It’s a great thing, as long as you’re prepared for what you’re in for.

Historical Absolutes

Mark Vorenkamp actually explained this really well in this article, so I recommend heading over there because he articulates it way better than I ever could.

You’re Not A Scientist (And That’s Okay)

Accept that you’re not a world-famous scientist and that you don’t have all the answers or all the research to back up the speculation and estimation that comes with science fiction. That’s okay, and as long as you do your best to know what you’re talking about and do as much research as possible to add substance to detail, you’re fine. This is fiction, after all. Not a dissertation.

This article is really, really detailed and extensive, and it’s a good continuation of what I’ve covered in this article. I recommend giving it a read if you’re about to sink your teeth into the editing or second-draft onward of your story, because it further examines things like the use of passive voice in sci-fi, and other, more advanced details of writing for this genre specifically.

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recentanimenews · 5 years ago

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Star Trek: Lower Decks – 09 – No Need For Theatrics

Ensign Mariner is in the midst of helping lizard people overthrow their oppressive masters (who also have a habit of eating them) and earnestly thinks she’s finally done something worthy of praise from her mom/captain, but Freeman isn’t having it, accusing Beckett of going against the Prime Directive.

Mariner vociferously protests in front of the aliens, and her mom orders her back to the ship, where she’s to report not to the brig, but somewhere even worse (to Mariner): therapy. Predictably, she makes no progress other than trashing a bonsai.

But when Boimler shows her a holodeck program of the Cerritos and near-perfect (and privacy-violating) approximation of its crew for the narrow purpose of practicing for an interview with the captain, it dawns on Mariner that the simulation could be used to work out her anger over her mom.

This results in one of the sendupiest good-natured sendups of Trek yet, this time focusing on the feature films. Appropriately, black letterbox bars appear to accommodate the wider aspect ratio and there’s suddenly a film grain and much more dramatic lighting and music. Boimler, Tendi, and Rutherford are all along for the ride, but only Mariner knows the script.

What’s hilarious is that interwoven within Mariner’s unofficial holo-therapy session, Boimler still tries to use the modified simulation to determine what to say to the captain during their interview, even interrupting her birthday jet-ski session reserved only for senior staff.

But when the Cerritos is given a mission (which Mariner notes would normally be given to the Enterprise), we get the full Star Trek: The Motion Picture dramatic starship flyaround, with some truly epic beauty shots of the ship in spacedock, while the bridge and corridors are also more cinematically lit (a contrast to the usual TNG-style even TV lighting).

The impostor ship the Cerritos investigates suddenly decloaks off their bow; it’s a klingon ship crewed by Mariner in her vengeful villainess persona “Vindicta” (a clear reference to Captain Proton’s Chaotica from Voyager).

Tendi somewhat reluctantly portrays an Orion pirate (as she’s not your usual Orion IRL), Rutherford is similarly unconvincing as a baddie, while Mariner simply replaced Boimler (still on the Cerritos) with a knockoff she quickly vaporizes (the first of many grisly deaths) to show she means business.

Vindicta & Co. board the Cerritos and a corridor firefight ensues. Boimler is about to learn from Ransom what the captain is allergic to, cookie-wise, when he’s shot and killed before he gets the words out.

As Mariner seemingly takes more and more sadistic glee in massacring simulations of actual Cerritos crew members, Tendi is put off and leaves the holodeck (as well as the letterboxed format!) Tendi does not think it’s okay for Mariner to play up the Orion pirate/slave stereotype, especially if it means offering her Shaxs’ Bajoran earring as a trophy…with part of his ear still on it.

Still very much reveling in her Vindicta character, Mariner has the Cerritos crippled and it careens through the atmosphere of the nearby planet and crash lands in some snowy mountains, a truly epic scene that references both the saucer crash in Star Trek: Generations (albeit at a differen saucer angle) and the crash from Voyager‘s excellent 100th episode, “Timeless”.

Rutherford, who like Tendi really isn’t into this whole villain thing, instead decides to use the program the way Boimler intended, to get more insight into his engineering chief. He even manages to create a program that systematically transports the entire crew to safety before the ship crashed, impressing his superior.

Vindicta ends up in the climactic fight with Captain Freeman, but it’s not as satisfying as she’d have liked, since Freeman character has no idea who Vindicta is. That’s when we get a very cinematic twist and the “real” Beckett Mariner appears to beam her mom to safety and duel Vindicta (shades of Kirk fighting himself in Star Trek VI).

Out on the planet surface, Boimler presents Freeman with some chocolate chip cookies on a blind gamble, but it turns out the captain is allergic to chocolate, and when Jet accuses him of trying to assassinate her, Freeman recommends Jet, not Boimler for promotion.

The two-Beckett fight ends in an apparent stalemate, but the one created by Boimler’s program never meant to win, only to buy time while the rest of the crew escapes and the self-destruct counts down. Vindicta (AKA the real Mariner) realizes that while sometimes she feels like blowing up the ship and stabbing her mom with a metal pole, at the end of the day she loves her mom, her friends, and her ship.

The self-destruct of the Cerritos ends the program. Mariner ends up making up with Tendi, Rutherford is unable to reach out to his superior, and most importantly, Mariner properly apologizes to her mom for how she acted with the Prime Directive-breaking. The movie transitions to a standard Trek All’s Well That Ends Well conclusion.

But that’s not all: when holo-Captain Freeman honors Ensign Mariner for sacrificing herself saving them, she no longer has any reason to conceal the truth: Mariner is her daughter. Believe it or not in all these nine episodes this is the first Boimler has learned of this! Unsure how to process the bombshell, he forgets his preparation and totally bombs in the interview with the captain. So he’ll remain an ensign for a little while yet.

As for Mariner’s movie, it ends a lot like Star Trek II, with a soft-landed photon torpedo tube in a lush jungle. But rather than a baby Spock, Vindicta rises and prepares for another round of bloody vengeance…only to be shot dead by holo-Leonardo da Vinci! That irreverent ending is followed by a more heartfelt homage, as the Lower Deckers’ signatures fly across the screen like those of the cast of Star Trek VI.

It all makes for a marvelously-detailed, deliciously indulgent homage-parody of Trek movies while still moving forward the serialized character elements in preparation for Lower Decks first season finale.

Stray Observations:

The cold open’s statue-toppling is a reference to the fall of the Saddam Hussein statue in Baghdad following the capture of the capital by coalition forces in 2003.

The vehicle used to pull down the statue is an ARGO, first seen in Nemesis.

The Cerritos therapist wears civilian clothes but has a Starfleet commbadge. He is also apparently a green hyperchicken, similar to the attorney in Futurama.

Voyager’s Captain Janeway often visited da Vinci’s workshop for advice and inspiration. He was played by Jonathan Rhys Davies, better known as Gimli (and the voice of Treebeard) from the LoTR trilogy.

That said, I love how the Cerritos’ Lower Deckers just do skeet shooting with him!

Mariner’s messing with Boimler’s program is reminicnet of Tom Paris and the Doctor’s dueling holo-novels in the Voyager episode “Author, Author”.

Mariner fills Vindicta’s early viewscreen dialogue with quotes from The Tempest, which is a nod to Klingon General Chang’s similar tendency throughout Star Trek VI.

The Cerritos’ warp effect is given more bells and whistles for the movie treatment, while there are numerous lens flares, a nod to J.J. Abrams’ lighting style in 2009’s rebooted Star Trek.

Shaxs mentions Pah-Wraiths, who were the evil version of the Prophets introduced in DS9.

In his engineering technobabble, Rutherford mentions both “sativa” and “indica”, the two major strains of marijuana.

Rutherford also explains how he was able to transport the whole crew to safety as the ship was crashing with the hand-waving line “It’s a movie! We can do whatever we want!” For good or worse, many of the movies did just that.

Due to technical difficulties, I had to take screenshots…with my phone.

By: sesameacrylic

#Anime #News #RABUJOI – An Anime Blog

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wanderrealms · 2 years ago

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Technobabble workshop started

#personal #working in assembly and with big machines of processing might help here

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whatsarasaid · 5 years ago

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"Do you want some tea (/coffee/whatever drink you wish)?" mama & sam

I’m not usually the best with dialogue prompts, but this one hit just right. 👌

title: dried leaves, ≈100 likes, 200 grams. fandom: death stranding. rating: teen & up. word count: approx. 850. characters: sam porter bridges, mama (målingen).

—

Sam turned the parcel over in his hands before scanning it into the terminal of Mama’s lab. It wasn’t often he transported such small cargo. Finding a place for it among the hulking cases had been a bitch, and at one point during the trip, it had slipped out of his pack and went tumbling over a bluff. Fortunately, he had also been carrying container repair spray.

Mama had no delivery dumbwaiter, and so came wandering out through the electric forcefield to retrieve the shipment herself. “On time, as always,” she greeted, “Got those custom circuit boards I asked for?”

“Yeah,” he said, passing her the small box, “And this.”

“What is it?” Mama furrowed her brows and began picking the ‘careful: contents fragile’ tape over the metal latch.

“Heartman ordered it,” he explained, though Sam still shifted uncomfortably in boots at the thought of Mama receiving an unexpected package. Those were only bad news these days. “Had it sent here, though. Marked as urgent.”

With a metallic pop, the canister opened. There inside lay a neatly tied natural fiber bag with a note attached by a ribbon. A fragile smile broke against Mama’s mouth as she read the letter, and she seemed to curl inward. Sam was about to step back and give her some privacy—the gift and note obviously moving to her—when she looked up and offered, “You want some tea?”

The last time he had seen Mama, she had recounted her story through a trembling voice and hands. Explained how loss and emptiness were moored to her body. Told of how she chose to be haunted and purposed to live in a tomb. Yet despite all that, she teased him. Fashioned him tools. Extended invitations for tea.

He should have said no.

There were other deliveries to be made.

But instead, he began to unlatch his pack with a grunted, “Sure.”

Mama’s smile turned into something thankful, and she waved him in, cufflink clattering around her wrist.

Sam followed. After giving Lou’s tank an assuring pat, he unhooked her connection to the odradek before it could whirl to life and clap at the Beached Thing that hovered above their heads. The cooing of Mama’s daughter echoed through the warehouse, and Sam felt his stomach drop-out as his chiral allergy flared. It wasn’t called DOOMS for nothing. The sudden shift of hormones emphasized the dreaded space between things, highlighting distance. It made one aware of the void.

Mama began to fill the space with technobabble about upgrades for Bridges’ truck fleet, hence the prototype circuit boards she asked for. It was a welcomed distraction from the ominous pit in his gut.

With her addled gate, she led him to the kitchenette in the corner of the workshop. Her prosthetic was hardly noticeable, and he often forgot she had it, though she made no attempt to hide it—her jumpsuit pantleg cuffed to show off the hardware’s seamless design.

“That bother you much?” he asked as he took a seat on a stool and jerked his head toward her foot, “Your leg.”

“Not anymore,” Mama shrugged, pulling out a French press from beneath the under-island storage and placing it on the counter, “Bridges initially outfitted me with a pre-fab model, but I wanted to dabble in bioengineering, so I made my own. It got easier after that—felt more like a part of me.”

“Makes sense.”

They sat in amiable silence as she flicked on the kettle and withdrew two steel mugs from the cabinet as well as artificial honey. Measuring out the leaves, she heaped three spoonfuls into the plunger and then poured hot water over the top. The warm aroma of mint and thistle curled into the air as the dried plants blossomed and unfurled. Genuine tea was a delicacy in the post-Stranding world since it had to be grown in expensive underground greenhouses. Coffee, tea, spices—most of it was synthetic these days.

As they waited for the beverage to steep, Mama leaned her hip against the counter, “You don’t strike me as much of a tea guy.”

“I’m not.”

“What’s your poison?”

“Monster Energy.”

“Yeah, definitely not a tea guy,” she grinned, revealing the gap between her teeth. “I guess I should thank you for indulging me on my birthday then.”

Sam leaned over his elbows on the counter to survey the spread, “That’s why Heartman sent you this?”

“Yeah,” her frail smile returned. “He knows I’m not…” she paused, trying to find the words, “used to spending it alone.”

The timer chimed.

Spilling the tea out of the press and into the mugs, Mama prepped their servings. She passed Sam his cup with a murmured warning of, “Careful—hot.”

Taking it, he gave the contents a swirl. Then he lifted his mug in the air, “Happy birthday, Mama.”

“Cheers, Sam,” she said as she clattered her drink against his.

And for just a moment, there was a little less distance.

A little less void.

end.

#death stranding #sam porter bridges #mama (death stranding)#målingen #prompts

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amonsteronmaplestreet · 6 years ago

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MAD SCIENTIST LOVE STORY

Hey all, my new novel, Mad Scientist Love Story will be going on sale on the Kindle in just a few hours. This is my second full novel and my 9th Kindle book (10th if you count the Omnibus collecting a bunch if novellas) and I also think it may be my best work yet. So give it a whirl! It's on Kindle Unlimited if you have that, and if you prefer physical books, there's also a paperback option! Check it out.

Official description:

They are called Inventors.

Those with the Spark possess a special gift: they can create machines and contraptions that bend the very laws of the physical world, performing feats that should by all rights be impossible. But each Inventor also suffers some sort of unique "Spark Madness," and because of this they have a reputation as Mad Scientists; wild and unpredictable.

To help young Inventors develop their talents to serve mankind, the International University of Inventors (or IUI) was founded. Each year, new students arrive at the University, ready and eager to hone their special talent.

This year sees two such young Inventors: Dillan, an unassuming young man with dreams of world conquest, and Noreen, a girl who views the world through the lens of anime tropes and cliches. Their lives are irrevocably changed when they are both assigned to same Workshop class, and Noreen realizes that Dillan is the sole male student. This could mean only one thing: Noreen is a living in a harem show. But, strangely, nobody is acting like they should.

Well, if they won't behave accordingly, then Noreen will just have to pick up the slack.

WARNING: Mad Scientist Love Story contains depictions of the following: foul language, mature content, misapplication of quantum mechanics, diversity, hurt feelings, young love, racial tension, homosexuality, heterosexuality, bisexuality, pansexuality, awkward conversations, aromanticism, romanticism, frank discussion of emotions, college life, blasphemy, hypocrisy, neurodivergence, strange new feelings, technobabble, fragile masculinity, legally-distinct parody names, violations of the laws of thermodynamics, alternate history, graphic sexual content, punk rock, embarrassing situations, anime jargon, drunk and disorderly conduct, robot on robot violence, polyamory, numerous affronts to good taste, and Canada. Reader discretion is advised.

#kindle #books #author #mad scientist love story #signal boost

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crazynekochan · 6 years ago

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DR God AU (any god AU, after Soudam gets together): Kokichi is a young ruffian who is in the acquaintance (read: partner in crime) of Hiyoko, goddess of Dance and Tradition, notorious bully, and prankster. One day, he accidentally (actual accident, he swears) takes some bread from one of the platforms in the Holy Plaza, a plaza in one of the major cities filled with altars and mini-temples for all of the gods so you didn't have to go halfway across the city to ask for multiple gods for (1/?)

DR God AU (3/?): allocated tasks remarkably well, while he plots to get himself out of there. Because he was allowed to roam freely after his job for the day was done, Kokichi traveled about the Underworld, looking for access points that he could escape through and searching the Underworld Palace for good places to plant traps and pranks so that everyone would be too distracted to see him make a break for it. Finally, after about a week, Kokichi sees his chance when Kazuichi has finally left his

DR God AU (4/?): workshop because Gundham made him. Kokichi sets off the traps and runs for it, dives into the portal that brings him to just outside the Holy Plaza and running off to meet with his team, who're all worried as hell that he'd gotten caught by guards or something and were planning to bust into the local jail. Meanwhile, the traps and pranks have all gone off and Kazuichi, being a ball of anxiety, is very freaked out even hours after the incident, which makes Gundham very mad at the

DR God AU (5/?): one responsible for backing out of his punishment, messing up his palace, terrorizing his staff and animals, and terrifying his paramour: Kokichi. So, about a month after Kokichi's daring escape from the Underworld, he meets up with Hiyoko, who casually mentions after hearing the story that Gundham is looking for Kokichi and he is not very happy about the daring escape. As in, horrible punishment waiting in the Underworld for him when he inevitably dies kind of unhappy. This

DR God AU (6/?): understandably freaks Kokichi out, even though he hides it pretty well. Hiyoko has a plan though and asks him to meet her just outside the Holy Plaza after dusk. While heading back to his organization's "hideout" and contemplating just how to get out of this mess, Kokichi sees someone enter the famous inventor Miu's home. Which is surprising because almost no one goes inside that doesn't already live/work there, so Kokichi decides to peek and sees Miu happily chatting with a

DR God AU (7/?): person that Kokichi swears he knows but doesn't fully recognize about a collaborative invention. They then move to the back room where Miu has her workshop and, since he's curious, Kokichi sneaks inside and peeks past the door to the workshop to see a gorgeous male made of metal, currently inactive on a workbench. After a lot of enthusiasm and technobabble from Miu and the mystery person, they activate the male by placing a glowing crystal in his chest and they open their eyes &

DR God AU (8/?): starts to move around, assisted by Miu and the person that Kokichi swears he knows he knows from somewhere but can't quite remember where, not that he's paying much attention since he's focused on the very attractive mechanical man. The person finally speaks in a voice that Kokichi can hear and he recognizes them immediately: it's Kazuichi who came to visit his good friend Miu for a collaborative project and Kokichi needs to leave ASAP. So he quickly books it out of Miu's home,

DR God AU (9/?): fleeing as far away as he can from the spouse of the god he royally pissed off last month. That night, Kokichi is plotting how he can escape from this whole mess & maybe take the mechanical hottie with him when he meets with Hiyoko. She offers him a deal: he takes some ambrosia that she has on her and becomes a minor god at the cost of never going anywhere near the Underworld gods (and he can't see the mechanical man since he's an invention of Kazuichi, Gundham's husband) and

DR God AU (10/10): serving as one of her subordinates for all time or she can snitch on his location to Gundham, whose altar is just a few meters away and she could leave him to his terrible fate, his choice. It's not really a choice, so he goes for immortality (and a lower chance of meeting an angry major god) and become the God of Trickery and Lies; that's how Kokichi became a god. (Don't worry, he eventually does actually meet & start dating Kiibo, much to Gundham and Kazuichi's displeasure)

Mod: “So, about a month after Kokichi's daring escape from the Underworld, he meets up with Hiyoko, who casually mentions after hearing the story that Gundham is looking for Kokichi and he is not very happy about the daring escape. As in, horrible punishment waiting in the Underworld for him when he inevitably dies kind of unhappy.” And it was in this moment, that Kokichi knew that he fucked up

Kokichi would be so over the top when he escapes from the underworld and probably not fully consider just how easily Kazuichi was frightened and just how pissed of Gundham would get because of it. But to his luck he knows Hiyoko and can get out of the whole mess through her, even if it costs him something

I would so bet that he never planned to stay away from Kiibo, even if Hiyoko told him to, because this is Kokichi we are talking about. He always does what he wants and there is a reason why one of his new titles is god of lies. The moment he actually scores a date with Kiibo, he would also turn so smug about it because he now knows that Gundham wont touch him, since Kiibo is kinda Kazuichi’s child by heart and taking Kokichi away from them would make Kiibo sad and then also Kazuichi as well, which is the last thing Gundham wants. Even if both, he and Kaz, aren’t very happy about Kiibo’s choice of partner

So in the end Kokichi actually managed to trick two gods, one of them being a very high ranking one, and also got to date Kiibo. Now that is an ultimate win

#danganronpa #kiibouma #soudam #ask #prompt #god au #friendlylifecherry

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rosalind-of-arden · 6 years ago

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Paper and Fire Reread Chapter 11

Let’s dig some more into the trauma mine of Morgan, Wolfe, Wolfe, and Santi, shall we? Oh, and there is also Thomas.

Jess’s stun shot and Zara’s killing shot both had the same effect, and I just give up on figuring out how these guns and armor work. Ok. Fine. Maybe Zara had hers set to stun too and Jess is just an idiot. For fuck’s sake, I think Santi recovers faster than Zara.

Wolfe snapping at Jess here is totally using anger to cover trauma. He was already a wreck, now his source of emotional support is injured and could have been killed; he can either be an asshole or fall apart, and we all know which way Wolfe’s going in that situation.

But also! Helping Santi means Wolfe at least gets a little cuddling in while they’re going through the tunnel. Whether they like it or want to admit it or not, they both need that. They’re the last ones up from the tunnel.

Jess parked the path and no one seems to be erasing the marks. Are they something the pursuing soldiers wouldn’t recognize? Or is this evidence that Zara lets them get away?

Wolfe vs. Santi on exit plans. Let’s call this one a draw since the kids end up being the ones to solve it. Still 6-0 Wolfe.

Wolfe seems calmer while they’re debating plans. He does better when he has a problem to solve.

When did Morgan get filled in on the plan? While Jess and Santi were up dealing with Zara? Or does she mean that translating back out is how she planned for them to leave?

People who have definitely been to Rome before: Wolfe, Santi, Khalila, Thomas. Part of me really wants to write an adorable and fluffy little child Thomas visiting automata workshop thing now.

Thomas really seems to be struggling to explain his plans here. Just trauma? Or trauma compounding pre-existing difficulty with language?

Santi initially has no patience for Thomas’s difficulty explaining his plan. But then he sees Thomas tremble, and he apologizes right away and shows more patience after that. Recognizing a pattern from Wolfe? I think so.

Dario is the one to suggest splitting the party. I find it a little odd that no one questions this or argues about it.

Jess is underestimating how hunted Wolfe and Santi will be, I think. Even not accounting for the Artifex hating Wolfe, we’re talking about a Scholar who knows how to build a printing press and a high-ranking military officer turned traitor.

Morgan hugs Thomas before going scouting with Jess. There’s that caring side again.

Morgan, still better at stealth than the actual smuggler in the group. For once, kissing while in danger is actually a good idea.

Wolfe gives Thomas his Scholar’s robe here. One, this is so sweet. Here’s Wolfe, who remembers wearing those prison uniforms, giving Thomas something to cover it up, making himself more vulnerable in the process. He’s also offering Thomas an item of clothing symbolic of what he wanted to give Thomas in the first place, and of what was taken from both of them. Two, did Wolfe bring a spare robe? Because he has one on again later (everyone but Morgan and the three High Garda of the group are wearing robes when they go back to the basilica).

"Morgan walked arm in arm with Thomas, subtly supporting him when he faltered.” More sweetness! Morgan is taking such good care of Thomas. And then Thomas reassures her when she worries about Wolfe’s group.

Morgan likes watching Thomas work. Ok, I give up, this chapter just makes me want to write lots of fluffy Thomas/Morgan snuggles.

And now Morgan and Jess are comforting Thomas together. Jess is awkward about touching Thomas, but he knows what to say. Morgan is the opposite: no apparent problem with the hand holding, but can’t find words. Being so freshly out of her own traumatic ordeal, Thomas’s feelings might be a bit too close to hers for comfort. Also, she’s trying very hard to make it look like she’s ok.

Thomas and clothes: Jess thinks Thomas is shy with the girls, but is it just the girls? He seems embarrassed by shirtless Jess, too. As far as removing his own clothes, is it just shyness? Or does he not want the others to see injuries and/or scars? Almost entirely headcanon on the Wolfe side of things, but I’m seeing a parallel between Thomas and Wolfe on the clothing issues.

Morgan is really, really good at taking care of Thomas. All the hugs and hand holding and kisses. Talking about the bird he gave her. The haircut. The new clothes. How much of this is coming from her own experiences and things she witnessed in the Iron Tower?

Morgan says here that the glowing letters are appearing because she’s cheating and wants to see what she’s doing while she works. Remember those glowing letters back in Ink and Bone when Jess aught her? Is this a sign of how far she’s come in her alchemy skills since then: it happened by accident before, deliberately now? Or is this a sign that she was lying then and it was never an accident?

Alchemy takes energy. Obscurists are born with adequate quintessence to fuel it, others aren’t. How does this connect to Jess’s ability to use alchemy-powered Library tools? What energy are those drawing on? Not quintessence, presumably: if it was just a matter of Jess being like Wolfe and having some but not enough to count as an Obscurist, he’d also have the Obscurist spidey sense and be able to identify others with the same power. Well, ok, it’s Jess the Oblivious, so I suppose I shouldn’t entirely rule that option out. And I really, really shouldn’t try to make the alchemy technobabble make sense, anyway. The fucking guns don’t make sense, of course the magic doesn’t.

Wolfe is back, and even though his group had a nice, relaxing lunch, he’s exhausted and irritable. Would Wolfe actually be shocked by Thomas’s behavior here? Or would he recognize himself in it? Jess is too busy fixing a lion to observe.

This whole bit of Jess and Thomas deciding on a name and pronouns for the lion is adorable.

Grumpy, flustered Wolfe and the lion. So cute. Wolfe does not want a lion that requires cuddles. But given that he pushes Santi forward after he’s done, I’m going to say this isn’t fear or trauma, just Wolfe being his usual prickly self. After everything he’s been through, he doesn’t have the energy to be nice about this.

Santi has worked with lions before: he was controlling them to some extent when they first got to Rome. He’s quite pleased to have one that’s even more under his control. He, unlike Wolfe, is totally an animal person. (Mechanical animal person?) They’d totally have a dog if not for Wolfe refusing to have anything to do with it. Maybe he even just likes lions in general; he’s got a tattoo of one, after all. Symbolism, too: here’s a symbol of the Library, turned to their side.

While Wolfe’s crankiness about the lion wasn’t trauma, Glain’s definitely is. She’s been holding herself together all day. Now it’s her turn to have a meltdown. Her world has been shaken: everything she worked for and trusted turned out to be bad, she just had to fight against her fellow soldiers, and she’s not having an easy time working out what she should trust now. She’s probably also insecure about her ability to deal with friends who have changed, particularly Thomas: she does not know how to help him, and that would frustrate her. Morgan and the lion make convenient targets for all those feelings.

Traumatized, angry Glain is really an asshole: the suggestion that Morgan might turn against her friends because of “What might have been done to you” is especially hurtful, not only to Morgan, but also to Thomas and Wolfe. The Library put all three of them through trauma to try to make them into something it could use. Saying they might turn out to be dangerous because of what happened to them plays right into their insecurities.

And that particular comment is where Santi steps in. He didn’t break up the argument when they were just fighting over the lion or whether Morgan could be trusted; he’s willing to let the kids work that shit out themselves. But when she implies that a traumatic ordeal can turn a person dangerous? Santi shuts that down right away and orders her to go make friends with the lion. He’s nice enough about it, probably recognizes a traumatized soldier lashing out (he totally does the same shit himself), but he is not letting her poke at Wolfe’s insecurities.

More Artifex and Archivist conspiracy notes. They’re both still assholes, what else is new?

#the great library #paper and fire reread

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theekclub · 3 years ago

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Interview with Continuum's Erik Knudsen

Hey guys, today i'm bringing to you another interview with Erik for online magazine "Sci-fi and Tv Talk", so enjoy it.

Tech Support: Interview with Continuum's Erik Knudsen

May 29th, 2012

At the age of 10, Erik Knudsen played on a children’s hockey team that was chosen to appear in a Visa TV commercial. Little did the actor realize the impact that this event would later have on his life. “I loved it and I always wanted to act after that,” he says. “My parents, of course, were always telling me to have a back-up plan just in case things didn’t work out.

“When I was younger I wanted to be a policeman. I thought that that would be an awesome job and still do, but unfortunately I don’t think I have quite what it takes. I’m 5’ 8” and 125 pounds, so it would probably be kind of difficult. I always wanted to be an actor, though, and felt that if I had a back-up, it would allow me to give up too easily on my dream. So I don’t have a back-up right now. I’m just concentrating on my acting and would love to do that for the rest of my life, and maybe direct down the road.”

In Knudsen’s case, hard work and perseverance have certainly paid off in the form of several feature film and TV credits. Currently, the affable and talented actor is playing Alec Sadler in the hit Canadian TV Sci-Fi/Police Drama Continuum. When Kiera Cameron (Rachel Nichols), a Vancouver CPS (City Protective Services) officer in the year 2077, is unexpectedly sent back in time to Vancouver 2012 along with a group of convicted terrorists, the technology in the future suit she is wearing manages to connect with a frequency used by Alec.

A 17-year-old computer genius, he has, unbeknownst to him, created the foundation for all the technology that runs the world in 2077. While at first only a voice in her head, Alec becomes one of Kiera’s most important allies in her efforts to stop the terrorists from wrecking havoc in the present and changing the future.

“When my character first heard Kiera’s voice over the radio he thought it was a prank,” explains Knudsen. “Alec couldn’t believe that anyone could get onto this encrypted frequency that he created, so when he first starts speaking to Kiera, he doesn’t believe her. For a while, she’s telling him that she’s from 2077 and Alec thinks, ‘OK, that could be true,’ but he doesn’t understand how that’s possible.

“Throughout the first few episodes, my character is trying to help Kiera, but there’s a great deal of doubt. Now, however, we’re filming our 10th episode [and first season finale], and there’s a lot of trust has built up between them. He’s helping her out every day to find these bad guys and fight crime, and Kiera is becoming reliant on him. Alec is basically all the backup she has right now because no one really knows the truth about her. So Kiera really trusts him and I think their relationship has developed quite nicely over this first season. They’ve become close friends and, of course, Alec is a teenage boy, so he thinks that Kiera is really hot,” says the actor with a chuckle.

In Continuum’s first season opener A Stitch in Time, the first glimpse that audiences have of Alec is of him sitting in a dark room surrounded by computer screens and various other technical paraphernalia. Because he is supposed to be playing a computer genius, Knudsen was almost immediately rattling off the “dreaded” technobabble.

“They pack all my dialogue into one day because we film most of my scenes in a barn, which is Alec’s workshop,” he notes. “So my first impression on my first day of work on Continuum was, ‘Holy cow, what did I get myself into,’ because it was a lot of work. Alec is very smart, which meant I had to learn all this technical jargon and lingo. All I can say is that the Internet is amazing; it gives you links to all these websites that basically tell you how to pronounce these words, so that was a big help for me.

“It takes a week for me to memorize all the dialogue that I have for my one day of shooting usually on Fridays,” continues Knudsen. “As far as prep, it consists of a couple of hours every day of me writing everything down, trying to memorize the words and just get the rhythm of it all. So in the beginning it was a little bit startling for me to play a character that knows so much about stuff that I don’t know anything about. Again it was a lot of memorization as well as preparation, but so far so good. I’ve learned a ton and because we’re coming to the end of filming, my mind is a little tired now, but it got a pretty good workout this season.

“Another challenge with this role is that I didn’t know too much about my character of Alec. I knew that he’s a farm boy who keeps to himself and does all this technical stuff in his family’s barn. As far as what comes down the road for him, well, he’s trying to deal with a woman from 2077 and what she’s telling Alec about himself as well as the future. How do you act like this is news to you? I can’t give away too much, but as the season goes on, he changes just like anyone else who is being told the kind of information that Alec is. When it comes to specifics, though, you’ll just have to watch,” teases the actor.

As his on-screen relationship is taking time to develop with the show’s leading lady Rachel Nichols, the actor’s off-screen rapport has solidified much quicker. “Rachel Nichols is incredible,” says Knudsen. “It’s always scary settling into a new show with a new cast because you don’t know what everyone is going to be like, but the whole Continuum cast is fantastic. Rachel is the coolest person to be working with on this show. She’s like one of the guys; Rachel is drama-free, she loves football, and coming into this show she’s learned to really love hockey, which is terrific.

“So Rachel is perfect and a pleasure to work with. I mean, she comes in on her day off just to help me out by doing her character’s off-screen dialogue. It’s difficult because we’re never face-to-face; I’m always in the barn and talking to her through a blue tooth. So we don’t get the usual actor interaction that you’d normally get, but we help out one another by reading off-camera for each other in order to develop the flow of the scenes and that care in the lines instead of just talking to one of the crew who’s reading the [off-camera] dialogue. At first we were concerned about how things would all play out if that was the case, but I’m happy to say it’s been fine.”

Having worked on a number of made-for-TV movies as well as played the lead role in YTV’s Mental Block and guest-starred on such TV series as Doc, Blue Murder and The Guardian, the Toronto-born Knudsen made his first major feature film appearance as Daniel Matthews in the 2005 horror flick Saw II.

“I was around 16 when I booked that job, and I was so excited,” recalls the actor. “I studied so hard for that role and wanted it so badly. I sat in the car before for audition and was really nervous, but at the same time I pumped myself up. Like most actors, when you finish an audition, you hate it and think you did horrible. However, I got a phone call telling me I got the role and I almost died. I couldn’t believe that I was going to be in the sequel to one of my favorite horror movies.

“So this was a dream come true, and any nervousness was soon overtaken by my excitement. We only had 21 days to shoot the movie and not a big budget at all. We filmed in this abandoned warehouse in Toronto and were working 16-hour days. At the time I had this really bad flu and was so sick. Also I was still young enough to need an on-set tutor. So I had to have two hours minimum of tutoring every day on top of working 16 hours and being sick. It was hard, but a good challenge for me. Funnily enough, my character is sick in the film, so I guess it actually worked out that I was sick in real life,” he jokes.

Not long after Saw II, the actor booked a series regular role in the CBS action/drama Jericho followed by four big screen projects including Scream 4. “I grew up watching the Scream movies, so it was awesome to work on Scream 4,” he enthuses. “As a kid I was terrified of the Scream mask, and here I was years later face-to-face with the real thing. It was an honor to work on such a classic movie with such an amazing and legendary director like Wes Craven, who I looked up to while growing up. It’s one of the best experiences of my life so far.”

In addition to Continuum, Knudsen can also be seen in episodes of the Canadian-made TV medical drama Saving Hope (premiering in June on NBC in the States) and writer/producer/ director Darren Lynn Bousman’s (Saw II) upcoming movie The Barrens. For the actor, having his name appear in the credits is not quite as important as the type of project he is working on.

“It’s really difficult because being an actor you don’t know when your next paycheck is going to come in, so you can’t always make the most artistic choices,” says Knudsen. “A lot of times you have to accept a role you’re not too thrilled about and might not really care for. Thankfully I have been really lucky and been working enough that I can choose projects that truly stand out to me, are well-written and a real challenge. I’m very grateful for that because right now I know a lot of people don’t have that luxury. A year from now that might all change, but right now I’m able to do that and I’m very happy with what I’ve chosen so far, including Continuum. I just saw some clips of the season finale and it’s going to be a great ride.”

Steve Eramo Continuum premiered Sunday, May 27th @ 9:00 p.m. EST/PST on Canada's Showcase network; the series will continue to air on this same day and time. As noted above, all photos have respective copyrights, so please no unauthorized copying or duplicating of any kind. Thanks!

Source: scifiandtvtalk

#erikknudsen #erik knudsen #continuum

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