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heartofsnark · 3 years

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Can You Feel The Sun? (Chapter Eight): Icarus Falls

Notes: Why, yes, I am posting these relatively quickly. This is the last of a backlog since I’m actively still working on the next chapter, This is a doozy of a chapter, both emotionally and length wise, but I’m rather proud of it, if I’m being honest. I recommend settling in a snack and maybe...just maybe some tissues....

Word Count: 15327

Chapter Warnings: Multiple deaths, violence, gore, grief, angst.

If you haven’t yet, you can read the previous chapter here!~

V and Jackie get into the backseat of the Delamain taxi. White and tan leather interior, despite looking the nicest she ever has in twenty years she still feels like she might stain the white leather. No driver, instead there’s screens and consoles in the back of the seats in front of them. An avatar of a bald man with stark unnaturally white skin and blue lips

“Welcome on board this Delamain service. With Delamain, you leave your problems at the door,” the AI avatar greets them in a robotic voice.

“Son of a bitch! Better fuckin' believe I will!” Jackie yells out, still grinning. V lets out a breath of air meant to sound like a laugh, but the lump in her throat isn’t making it any easier.

“I see no reason why you should be using expletives.”

“Sorry, he gets… excited.” Her voice is tighter than she wants it to be, her leg bouncing now.

“Damn right, I’m excited. Hey, Del, what about that time I wanted to hire you for my cousin's bachelor party, huh?”

“Unfortunately, we do not take on such contracts.”

“Three months I'd been savin' up scratch… Egh, water under the bridge. Hit it, Del!”

“Before we begin our journey, I must verify the identities of all customers. Please proceed to connect your personal links,” the mercs plug their personal links into the console, “Thank you. "Excelsior" package activated.”

Crisp subtitles for Delamain alight along her contacts, more comprehensive than the lip reading tech sometimes gives. Maybe his AI avatar enunciates more properly than a human, she wonders.

“"Excelsior"? Hohoho, this just keeps gettin' better!”

Jackie laughs as the taxi cab starts to drive and V finds herself fiddling with her suit sleeve. It’s perfectly tailored, but she still feels like a kid in dress up. Having to pretend she’s a corpo, having to pretend to be a hearing person. Her bright painted nails seem to clash so much with the persona and she curses herself for not changing the polish. What if they’re caught right away? The corps smelling Heywood and The Badlands on them the second they walk through the door. What if the spoofed SID hack doesn’t work, what if the bot malfunctions… What if, what if, what if; spins around her brain. They can’t fuck this up, there’s no room for mistakes. One disaster will destroy their reputations, hell their entire merc careers. And that's the best case scenario.

When she glances at Jackie there’s no hint of nerves, no hint of reservation or fear, just giddy excitement. Like a kid getting ready to hit up a party.

“What’s got you riled up?” She asks in spoken English, deciding she’ll mostly speak for the ride since Jackie is the only person really here, that way he doesn’t have to look at her the entire time. And maybe she’s also hoping if she talks enough she won’t clam up too bad in Konpeki.

“Hang on, watch this… Delamain! Initiate combat mode!”

She can see the bright red ink of his tattoo peeking from his suit sleeve, eyes drawn to it, and something about that scares her more; a hint of his Valentino roots showing, would it be a literal red flag for Konpeki security.

“My apologies, but you do not appear to be in any sort of imminent danger,” Delamain crushes Jackie’s hopes, a frown replacing his grin.

“Huh… Oh well. Trust me, he'll mow down an army of ‘Saka ninjas if it comes down to it,” Jackie explains to V and she wraps her arms around herself, resisting the desire to bring her legs up into the seat, trying to get her mind off her nerves.

“So, what else is included in Excelsior mode?” V tries signing to the AI, curious if it has translation tech for ASL.

“Comprehensive health coverage, including the handling and disposal of a client's remains should death occur on board,” Delamain responds without hesitation and instantly ruins any chance of her getting her mind off the massive risks within this job.

“Damn. Shit got dark pretty quick,” Jackie comments.

“Dex isn’t skimping though.”

“And thanks to you, we're still gettin' a juicy forty percent.”

“You’re welcome.”

“Excelsior…This is how you wanna cruise into the major leagues…” He says like the job is already done and they’re hitting up an after party…

“Wouldn’t get too excited yet, Jack, doing a job not hitting up a party.” And her words are too sharp, voice too venomous and rough in her throat. She regrets it as soon as they leave her lips, as soon as she’s spoken them into reality, wishing she could swallow them back down. His face drops completely, eyes harsh and she knows she fucked up.

“For real, V…? See me as that shallow?”

“I-”

“Lemme explain somethin' to you, V… My whole life I've spent in this shit around us! And I ain't goin' back!”

“I’m sorry, really, I just… I’m worried and I let my nerves talk for me, I’m sorry.” She quickly tries to smooth it over, those knots in her gut only winding tighter with Jackie mad at her.

“Swear to christ, V, I will never fucking get you,” he says, shaking his head and looking out the window.

“What do you mean?”

“Twenty years old, sitting in the back of a Delamain, on your way to do a job for Dex fuckin’ Deshawn and you can’t even muster a fuckin smile? You fuckin’ know what I’d have done to be where you are right now when I was your age, I was still dreaming of seeing The Afterlife! Took you less than a year to be here, took me ten! And you ain’t even happy about it! Then you act like I’m not takin’ it serious, like I don’t got my fuckin’ head in the game, just cause you can’t appreciate where the fuck you are right now!”

She chews her lip, not sure what to say to him. Guilt coming over her. He’s right, she hasn’t lived in Night City nor been a merc nearly as long. He’s been doing this since he left the Valentinos… For Jackie this has been a lifelong dream, the ultimate goal. She didn’t even consider it a possibility until she met him and now she’s already on her way there. Of course he’s happy, on the precipice of his dreams coming true.

“I’m sorry, really I didn’t mean to piss on your parade.”

“Yet somehow you always do.”

V sighs watching the city pass outside her window for a few more moments, tapping her fingers, that knot feels like a ball of lead now. She wants to claw her skin off, tear and tear away at herself, at her being, and maybe, just maybe she’ll find someone better under the gore. Someone who isn’t such a fucking asshole. Someone who knows how to keep their mouth shut and doesn’t ruin everything for everyone else. She’ll never understand why Jackie puts up with her, why he has for so long. She just doesn’t want to fuck this up. The job, her friendship, the little bit of happiness she’s built. V wrings her hands together, tight enough to hurt and she twists them a little harder, nails digging into the skin. If she can’t find anyone better maybe she’ll just claw away until she’s nothing at all.

She’s already a bundle of nerves over the heist and she can’t stand another moment of the tension hanging thick in the air.

“Did you fuck my wife?” She says in her best imitation of something between an Italian and a Brooklyn accent, watching Jackie’s face, the hint of a smile tugging at it. Tension starting to melt ever so slightly.

“Don’t get me started,” he returns forcing the same cheesy voice.

“Did you fuck my wife?”

“I think you fucked my wife and got me started.”

“I got started cause you fucked my wife.”

“I could trace back the moment I got started it’d definitely be when you fucked my wife!”

“That is unquestionably when I got started!” They’re smiling now, giggling at every other word as they choke on their cheesy jokes. Tension melts away as a weight is being lifted off her chest.

“My records indicate that neither of you are married.”

And they lose it, laughter filling the car at Delamain’s interjection to their stupidity. Its ridiculous and dumb and they sound like children. But, she’s thankful for the moment, the reprieve, where it’s laughter and not nerves tearing at her guts.

A call notification lights up on V’s optic contacts, T-Bug’s avatar and V answers, the runner’s voice coming just a moment later.

“Hey. How's things?”

“Eh,” Jackie answers, “been better, been worse.”

“We’re nearing our destination,” Delamain tells them and V’s throat tightens.

“Listen, set up a direct, encrypted line to guide you through Konpeki. V, ring Jackie now, see if we're in sync. Can't be too careful.”

She puts a call through to Jackie, inteface telling her it’s establishing a secure connection.

“And?” Bug asks, expectantly.

“Got static,” Jackie cringes, “Say somethin', Bug?”

“The greatest crimes issue from a desire for excess and not from necessity."

“Say what now?”

“Yeah, I read you. Not so much your Greek friend, though it was kind of exciting,” Jackie tells her with the ghost of a smile on his lips.

“Could give it some thought, try to understand…? How 'bout you, V?”

“I want more Aristotle!”

“Fuck off, both.”

Jackie and V share a giggle at the runner’s expense, V’s going to miss when Bug goes into retirement. If all works out, even on the brighter side, it may be the last time all three of them work together. But at least Bug will be happy and safe, unlike V or Jackie, this was never her dream or end goal.

“OK, tech checks out, looks like,” T-Bug confirms.

“Será mejor que sí…”

“Stay in touch”

And V just realizes the taxi has stopped moving, through Jackie’s window she can see the front entrance of the hotel. The bright red exterior walls, a worker standing at the ready and those nerves are clawing their way back with a vengeance, tearing up her insides and making her want to bolt, terrified that they’lll be found out as soon as they step foot in. They need to get moving, only way to get through the fear is to take control, do what needs to be done. And hopefully avoid puking in the back of an expensive AI taxi.

“Thank you for choosing the Delamain service. And best of luck. I shall await here for your return.”

“Shit's finally happenin’… “

“Its game time, got any iron left on you, time to put it away,” she tells him, tucking her gun and knife into the center compartment. Jackie following suit. V tugs off her suit jacket and rolls her white sleeves to her elbows, making sure her blades are accessible from the start.

“Alright, Hannah, let’s go.”

V opens the door of the Delamain, greeted by the view in front of the hotel, in the distance she can see the space travel facility, night settled over the water. The hotel has trees and plants out front, trying to sprinkle some nature into the cement and chrome world of Night City. She carries her suit jacket over her shoulder, keeping one hand busy with it, while the other sits in her pocket. Hoping it will keep her from signing if she needs to talk.

“Hold on, lemme grab the Flathead.” Jackie pops the trunk of the taxi and pulls out the case with the bot.

The mercs take the two marble steps up, a vibrant stript of red along the path.There’s long white marble with planters and the name of the hotel inscripted in gold.

“'Member, reservation's in your name… Ramón. You're there to meet Hajime Taki - military tech department rep. Papers are for the Flathead” T-Bug tells them as they get closer to the double doors.

“Welcome to Konpeki Plaza,” a man in a red, black, and gold uniform greets them, bowing his head as they pass by.

There’s a large waiting room, white couches along the sides with monitors displaying documentaries and vases with red hologram plants branching out of them. A security gate divides the waiting room from the front desk, scanners to check each guest for weaponry. Beyond it she can see staff with gold plated skin. All non-security personnel of the hotel are gold plated; receptionists, concierge, bartenders, and the like. A requirement for the job, even staff must match the aesthetic.

“Welcome to Konpeki Plaza. Please come through single file,” The guard tells them as they reach the full body scanner.

“You got it, holm-- uh, ahem, sir,” Jackie stumbles and V screams internally, watching her friend step forward. Blue light crackles along him, like lightning, then it flashes red. Misty’s warning of mean reds, flaring in V’s mind.

“Ahem. Hold on got something,” the guard stops Jackie before he can go any further, “Sir, care to explain why you're bringin’ a combat bot onto Konpeki Plaza premises?”

“Arms dealers.” V yells out quickly, hating how forced it sounds, tightening her fingers in her jacket, desperate not to sign on instinct and not realizing she forgot the ‘we’re’ part of her sentence until she finished saying it.

“Excuse me?”

“Ah!” A gold skinned concierge steps over, “You are here to see Taki-san, am I right? Please accept my apologies for the confusion.”

“Pff,” Jackie scoffs as the concierge bows and walks into the lobby, waiting at the front desk.

V steps into the scanner, guard assuring her it will only take a moment. It distorts her vision, crackling it with blue for just a moment. Then the guard tells her to go ahead and she walks forward, meeting Jackie at the desk. A woman with gold skin, black hair all shaved except for the bangs and sidelocks greets them. And V is starting to notice that the Arasaka logo is everywhere, the corp hotel owned by them. On the screens, gold emblazoned on marble planters, and on pamphlets. The hotel and Arasaka logo are clearly one in the same.

“Youkoso. Greetings and welcome to Konpeki Plaza,” she says bowing her head to them and V returns the gesture.

“We’d like to check in,” Jackie says and V sends him a silent thanks for talking. .

“Of course, just a moment, please” the receptionist taps away at a keyboard, “The name on the reservation is…?”

“Victorino.”

“Double room, two adults, one night. Correct?”

“That’s the one,” V tells her, with a tight nod.

“Perfect… I will go ahead and notify Taki-san of your arrival.”

“Shit, no good, not part of the plan. Talk her up, V, stall!” T-Bug yells out over the call and V is once again wanting to scream.

“That, uh, won't be necessary,” she curses herself for stuttering, “We'll go freshen up first, notify him ourselves.”

“But Taki-san is expecting you, no…?”

“Senorita, do you know how long we been traveling? Eighteen hours from New Barcelona. With a delay on Metakey 'cause some cyberpsycho blew himself into bits inside the terminal…”

“Been a nightmare, ugh.”

“Of course, I understand. You will be in the Lapis Lazuli Suite on level forty-two. Oh, one more little formality… Please validate your SID chip.”

“Honor's all yours, Hannah.”

A tablet on the table lights up with a bright blue handprint and she’s reminding of her issue getting into her own apartment. Bug said she put a temporary hack on their SID chip, but there’s an extra twinge of anxiety as V lays her hand down on it. She half expects it to show a senior citizen, to be outed as a fraud and tossed out the door.

“Everything seems to be in order. We wish you a pleasant stay!~”

“Better get goin'.”

V murmurs a thanks, feeling a bit of relief at having that part of this whole thing done. Playing corpo is somehow more stressful to her than the idea of breaking into Yorinobu’s penthouse. She follows behind Jackie. Large marble planters fill the lobby, some with trees that nearly touch the staggeringly high ceiling.

“New Barcelona? Really?” T-Bug comments as V follows Jackie up a short set of marble steps.

“It's called improvisin' - you should try it,” V stares up at a gold framed painting, “Whaddaya think, Hannah"?

“...” V raises an eyebrow at him with a soft noise in her throat.

“Quaint, cozy. Not like the hotel we had in Zurich for that convention.”

“Don't need that, Jack. Enough.”

“What? I’m takin’ this seriously!” Jackie grumbles when T-Bug scolds him.

They take two turns through the lobby, guards passing by talking about dolls being left in rough shape as they near what looks to be a bar in the corner. It's an open pathway inside, the bar illuminated in pink and a gold plated woman stands at a podium bearing Arasaka’s logo. There’s a lit collection of alcohol behind the bar, liquor that costs more than V’s rent, which isn’t a hard feat but still rubs her the wrong way.

“Bar don't look too shabby.”

“We don't do reservations on weekdays, so feel free to grab any available table. Or a couple of stools at the bar if you prefer?” She explains to them, a valley girl accent to her words.

“Could bring Misty here one day. When we, uh… close this deal.”

“Might take a look around.”

The idea of sitting down, if only for a moment, and catching her breath after the close call in the lobby sounds nice. Her nerves are frayed already, she’s never wanted to drink so much on a job before. A quick breather before she has a full blown panic attack.

“Shit,” Jackie curses, “look like some fuckin' travelin' salesman with this case. Go ahead, I’ll go on upstairs.”

V nods, watching Jackie go to the elevator, a part of her feels guilty, but she doesn’t intend to take too long. And it’s not as if she’s made visiting bars on the job a habit before, she can have this one. She rubs a hand over the back of her neck, feeling the chrome indents of her Mantis Blades cooling the skin. Half of the room is a lounge with black couches and slick pink metallic chairs, terrariums built into the walls. The other half is, gold stools and booths before the neon pink bar. Each side is filled with people mingling, dressed in high fashion, people who’ve gambled away more money than she’s ever seen.

“And when I say heads're gonna roll, I don't mean it as a fucking turn of phrase,” a half drunk man slurs his speech at the golden bartender. The stench of whiskey clings heavy to his clothes.

“Had enough guy, don’t you think? You’re making the other customers uncomfortable,” the bartender sends a pointed look towards V, a slight twang in his voice. She was looking for a breather, not conflict.

“Good! 'Cause this affects them, too! It'll slap everyone in the face!”

“What’s that?’ She entertains him, figuring it might get the guy gone sooner.

“You wanna know what a bearer of bad news looks like? What's four hundred yards long, weighs a hundred thousand tons, and is nuclear powered…? The answer's docked in the bay! Hanako Arasaka decided -,” he hiccups, “decided to take a little vacation!

“Big deal.”

“Don't know how big just yet,” her sarcasm doesn’t penetrate the fog of whiskey, “And by the time we do, it'll.. it'll be too late. Screw this. I'm gonna get some sleep…”

With that the man stumbles away, taking the too strong smell of booze with him and the shining bartender turns to her. His shaved hair either red or pink, color distorted in the glowing light.

“Evenin, what can I get you, baby?”

Her nose wrinkles at the term of endearment, “little forward, don’t you think?”

“Suckled it outta my ma's very breast,” he returns, “Fifty percent protein, the other half pure high octane CHOOH2.”

He presses two gilded hands to the bar leaning forward as he regales his story and she can’t help but raise an eyebrow; he’s implying he’s a nomad, but why would he tell her that?

“What?”

“She had wind and dust in her hair, so to speak. Belonged to the Aldecaldos. Before the bombs began fallin'. Her final words? ‘Wherever you go, whatever you do, be yourself, David.’ And so I ended up here. Still no one but myself.”

He’s full of shit, she decides immediately. Maybe her own distrust or her own frustration, nobody with nomad blood would end up here, gold plated and slinging drinks to corpos. At the very fucking least, they wouldn’t act so damn happy about it.

“Lovely story if it wasn’t a crock of shit.”

“Everyone's making something up,” he smirks, “Just like you, baby.”

“Excuse you?” she chokes out, feeling like ice water has been shot through her veins. He’s seen through her, that implication clear, but how? Even regaling to her some fucked up story of being a nomad, like he could smell the dust of the badlands still on her skin.

“Can I getcha somethin'? At the least, water?”

“Bourbon and cherry coke.”

“You got it, baby.”

The repeated use of the pet name earns him a glare, V tapping her fingers against the bar, his story and perceptiveness making her nerves worse. He sets the drink on the table and she downs it with a gulp, alcohol not quite loosening her how she hopes. She sets the glass down and leaves the bar, it may be petty but she doesn’t leave him a tip, frustrated at the idea he could have seen through her.

She jabs the elevator button, tapping her foot as she waits and stares at some painting. Its all abstract bullshit, pretty colors, but she’s not sure she sees much else to them. The golden doors open, the back of the elevator windowed with what looks like foliage inside, maybe it’s just a screen. V steps inside and jabs to her level. And after just a short ride, it stops at her floor.

The doors open and she sees Jackie, looking over one of the art pieces, walking past a desk and concierge to greet him.

“About time,” he says, when he spots her, the pair making a beeline to the suite. They walk past a couple speaking Russian, talking about testing on people, as they find the door.

Jackie opens the door and she gets her first peek of it, stepping in. The furthest wall almost entirely windowed, looking out over the hills. Another expanse dedicated to a terrarium, a large plush bed, white sofas, and a table projecting hologram displays of fish. V tosses her suit jacket off onto the couch.

“Pretty snazzy. Too bad we ain't stayin' the night. Nice choice, Bug.”

“Didn't pick it for snazz. Offers quickest access to the dweller and servers.”

“Sí, sí, me acuerdo,” jackie grumbles as he puts the Flathead case down on a table in front of the terrarium. The little spider bot springs to life the second it’s case is opened.

“Now you fire up the Flathead and find the shaft entrance.”

“Sounds simple enough…”

“Simplicity's sometimes toughest to master,” T-Bug tells her.

“Aurelius? Aristotle? Who's it this time?”

“Yours truly, that one's mine.”

“Go ahead and find the shaft, chica, I’ll get the Flathead running.”

V nods and begins looking around the room, scanning around, finding the shaft after a short moment. A little square panel standing out on the wall next to the terrarium, scanner telling her it’s Flathead compatible.

“Found it.”

“Good. Jackie, how's the Flathead lookin'?” T-Bug asks, he’s put the control shard in one of his neuroports while V was looking for the shaft, eyes now glowing bright white blue.

“All set. Systems’re operational, charge at a hundred…,” a moment passes his expression furrowing as he shakes his head, “Mierda. Little gonk's stuck.”

“Just gonna stand there and look at it? Gonna have to switch to manual control. V, take the control shard from Jackie. Gonna link your Kiroshis to surveillance so you can guide the bot.”

“Why me, Jack’s got full blown optics?” She asks, as he pulls the control shard from his head.

“Yeah, but you got better tech, unlike someone I ain’t run up my tab with Vik. Got last-gen firmware low flow. May be contacts, but you’re working with top notch Kiroshi tech.”

“Plus someone already has some playtime with the bot,” T-Bug outs her and Jackie raises an eyebrow at V, a teasing smile on his lips.

“You played with the bot?”

“Just… give me the shard,” she takes it from Jackie’s hand, “Surveillance cover the whole hotel?”

“Mhm. Even the bedrooms in the suites.”

“Seriously?”

“You'd be surprised what people're willin' to give up to feel secure. Lucky for us, Yorinobu's an exception. Penthouse is dark, no hotel security.’

“Okay, here goes.” V pushes the control shard into the slot, the interface says it’s connecting her, then it glitches and in a moment she’s looking at herself and Jackie through the surveillance camera.

“Patching you through to in-cam view. Might get a little disoriented, but don't freak”

Her vision switches between rooms; a man getting a lap dance from a doll in a dimly room, two men in another hotel room. And then it lands on a third room. A meeting of four people; two Arasaka suits and two faces she vaguely recognizes. The view doesn't shift again and she takes the chance to look closer, talks of losing control of Watson, election season. And it clicks, the mayor of Night City.

“Camera’s set,” V tells Bug, political bullshit isn’t her business, she can see the vague outline of the Flathead creeping into the room. Only slightly visible to her thanks to her connection,

“Get him to the next vent.”

V scans and finds the next vent shaft tucked in the corner of the room, sending the Flathead to it. She watches as it crawls and creeps through the room.

“C’mon little buddy, you got it, yes,” She cheers on the little machine as it skitters across the camera and into the vent.

“It’s a Military grade combat bot, not your pet, V. Patching you into the next cam now.”

The next room appears, more brightly lit with two maids working to clean it. V goes to send the Flathead into the vent but the request is denied, detecting one of the cleaning ladies is too far into it’s path.

“Cleaning crew’s in the way,” V tells Bug, listening to one of the women start drooling over Yorinobu.

“Gotta distract her. Hmm, let's see what's on the subnet…temp control on the terrarium, sic the bot on it.”

V follows the runner’s orders scanning and sending the Flathead onto the temp control. Barely a moment passes before the maid’s notice, freaking out about how expensive it is. The merc takes her chance and sends the bot into the unblocked vent shaft.

“Little guy’s through.”

Next cam flickers into a green tinted maintenance hallway, the bots legs tinkering across the floor. Vent on the other side of the room, V sends it through, smiling as her little buddy makes his way through. And it brings her to a new camera, it looks like where the surveillance feeds lead to. A console and row of screens with a security guard watching them.

“Dweller's just beyond the door. Flathead can jimmy the lock.”

V sends the command, watching it scamper to the door, tendrils working at the lock. But nothing gives away.

“He’s having some trouble, poor feller.”

“Shit… Gotta be another way. Lemme think… Got another cam other side of the door, but it's disabled.’

“Got a CCTV port, might be able to enable it.”

“Go for it.”

The Flathead creeps across the room and jacks into the port, giving V access to the other camera. And V switches her vision to it, the next room looks like a high tech runner’s nest. Two netrunning chairs in deep cooled divots within the room. But only one is in use, a man jacked into the security frame, illuminated in blue, screens running code around him.

“Dweller’s inside.”

“Just as planned.”

“Still don’t get why they only have the one.”

“Decent dweller's as good as a dozen rank-and-file. Lemme graft a demonoid onto your link, you’ll be able to jack the bot directly into the chair and neutralize the runner.”

“Got’cha”

“You'll have to get the Flathead in there first, though.”

“Got another shaft grate,” V finds when she twists the camera’s view, there had to be a vent in the other room, servers lining the walls. Bad ventilation and the entire operation overheats.

“Shaft may link both rooms, looks like. Toggle to the other cam.”

V does so, a moment of scanning and she finds a hidden shaft grate in the floor, “Think I got it.”

“Send the Flathead over there, then toggle over to the second cam.”

She waits until the bot is prying open the vent in the surveillance room, then flickers back over to the runner’s den, eyes on the vent and hoping she didn’t send their tech into the wrong room. A moment passes and she sees her robotic friend creeping his way out.

“Our friend’s inside.”

“Flathead into the chair, V, jack in.”

The bot crawls across the floor and into the netrunner’s cubby, creeping up the chair and scuttling over the man’s body. Deep in the subnet the man doesn’t stir or even notice as the bot hovers over his face and jacks into the chair. And the code across the screen glitches, replaced by a T.

“Holy shit.”

“Whoop! Got him! Love those daemons!” Bug cheers, louder and more excited than V has ever heard her. They did it, the bot is in, T-Bug has access to it all.

“Uh, Flathead buddy stays, right?”

“To keep an eye on the dweller, yeah. Punching into Konpeki’s main net. Go ahead and log out.”

The young merc’s vision starts to glitch and flicker red, her pulling the shard from her head, everything spinning. Lightheaded and her body feels both too light and too heavy. Like she could collapse and float away all at once.

“That's how it's done! How ya feelin'?” Jackie asks, concern lacing his voice.

“Like I’m about to puke on a rug worth more than my car.”

“Bug? How're you doin' on time?” The runner doesn’t respond right away, a moment too long passing.

“Bug?”

“Yeah, yeah, I'm here. Soooo listen, ICE is thicker than I thought. Piercing it'll take a couple hours.”

“A couple hours?! Can't do it any faster?”

“Want my brain to burst into flames? Just siddown and enjoy your snazzy suite.”

“Thanks, I will! V, you take it easy, c’mon rest for a bit.”

V doesn’t need anymore prodding, settling down onto the white sofa, hoping her head will stop spinning and stomach cease churning by the time Bug is done. The merc kicks off her heels and lays across the sofa, softer than her bed. Jackie sitting across on the other side of the table, V brings her hand up to her face, trying to block out the blue light from the holo projector. But catches herself looking at the bracelet Misty gave her, the way the beads catch the light, remembering the name of it.

“Hey, what was our suite’s name again?”

“Lapis lazuli, why?”

“Isn’t that what Misty’s bracelets are? The blue beads with the gold.”

“Oh...yeah, ain’t that some shit, must be a good sign.”

“Maybe… she read your cards before this?”

“Nah, didn’t get a chance, nagged me about mean reds though. What about you, cards in your favor?”

“All I remember is something about a magician and love, blegh.”

“Hehehe,” his laughter is warm and fills the huge room, “telling you, one day you’re gonna be head over heels with some chiccy or mano and you’re not gonna know what to do with yourself.”

“That how it was with you and Misty?”

“Pssh, knew I was crazy about her from day one, took a while to work up the nerve though one day I just told her the truth.”

“That you were in loooove~.”

“More like I’d take a bullet for her, chica.”

“Romantic.”

“Fuck yeah it is, in Night City, that’s worth a billion I love yous.”

“So you say.”

“Keep doing that and you’re gonna rub the finish off Vik’s work,” Jackie tells her and she realizes she’s been rubbing and fiddling with her implants, “be a waste for free work to be ruined.”

“I’m gonna pay him.”

“You give him anything upfront, even a dime?”

“I… gave him a hug…”

“Wow,” Jackie says half laughing and she’s laughing too, “a whole hug for top of the line chrome! Probably wasn’t even a real hug, just your half ass shit!”

“I may have only used one arm.”

“Santa mierda, V, gotta learn to hug people like you mean it.”

“Yes, yes,” she yawns, “blah blah blah, never know which hug will be the last one, blah….”

“Flathead wear you out that bad?”

“Maybe a little…” Her stomach feels better, but her head is still light, fuzzy. And in the plush of the sofa, with Jackie close by, she finds herself drifting away. Eyelids getting heavier with each word, each lull of his voice. She didn’t drink much, but she’s sure the bourbon didn’t help.

“Gonna be a while, might as well catch a cat nap, chica. Though Bug might not like it, haven’t quite managed to get the stick out of her ass.”

“Yeah..maybe…”

The world fades away, a soft fuzzy sleep taking over. Time ticks by around her as she catches a moment, or maybe several, to sleep. Her brain is still a little foggy, but the dizziness is gone by the time she slowly starts to wake back up. A bad case of cottonmouth as she wakes, world filtering back in.

Her suit jacket is tossed over her, a makeshift blanket she didn’t put there, she rolls over to sit, more stable than she was before. The time on the terrarium panel tells her only an hour or two has passed. Jackie’s back is too her, his eyes staring at the window. And she finds herself staring, standing in a suit and basked in the lights of the city view, he’s never seemed so serious.

“Whaddaya think? Why'd he give it all up?” He asks after a moment and she blinks, brain still foggy.

“Who?”

"Yorinobu Arasaka. The good life, I mean. Old news, I know. Just got to thinkin's all. It's like, think… You got everything, right? Eddies, education. Your pops can snap his fingers and turn half the fuckin’ planet into a nuclear wasteland… But instead you're like, ‘Nah, fuck it,’ and whaddaya go do? Start a fuckin' gang! Steel Dragons or some shit! You ghost from your fam, chip some RealSkinn and play gang leader for a few years. For what?!”

She can sense the frustration in every word, feel it every clench of his fingers or swing of his hands. Someone like Yorinobu was handed everything he could ever want; tried to piss it away to play edgerunner, then found himself sucking the silver spoon once again. But, she can’t blame him for wanting out from under his father’s thumb; that alone a feeling she knows too well. Her fingers hover over her wrist, the still branded flesh that Vik saved.

“Maybe...he just wanted out of the system.”

“So then why’d he come back.”

“Tough to ditch the system when the system’s your own family,” V admits, finger still on the mark.

“Black sheep’s still a sheep, eh?”

“Maybe…”

It took her forever to get the nerve to leave, she talked about it constantly, but it wasn’t until her mother’s death, murder, culling. Whatever she’s meant to call it, that she finally was pushed to make that move. Been gone for years now, but… more days than she cares to admit were spent wondering if she ever should have run, if she should crawl back and beg. If a family that hates her is better than no family at all…

“Crawled back on all fours, tail between his legs, fuckin’ cheap ass rebel. Fuckin’ tourist!”

Her nails dig into her skin; insecurities brimming, fear that maybe she’s just as much a fuckin’ tourist. Some black sheep nomad who’ll go running back to her dad, beg for another chance, playing pretend merc when all she’ll ever be is the family burden.

“Tourist or not, he just walked into the lobby. And we are back in biz. Penthouse security is neutralized.”

“Perfecto, let’s start this show.”

And with those words, they’re back in business, the younger merc up on her feet. V grabbing her jacket and following Jackie out of the suite, fiddling with the fabric as she walks, heels clicking across the floor.

“Hey, Bug…” Jackie says after a beat of silence, “were, uh… were you on comms that whole time?”

“Three and a half hours.”

“Eehh… about that stick up the ass…”

“Mean the one up mine?”

“Ehh, slip of the tongue, y'know…”

“I know. Now's your chance to make up to me,” T-Bug tells him as they reach the elevator, Jackie pressing the button.

“This is going pretty smooth right,” he turns to V as they wait, “right?”

“Really are a silver lining type, ain’t ya?” V teases as the doors open and they step into the elevator.

“Hey, when are you gonna wave off that dark cloud hanging over your head? Tellin’ you, it’s downhill from on in.”

She rolls her eyes and hits the button to the penthouse, elevator doors closing and the carriage rumbling, shaking as it ascends. Silence falling over them, only the sound of the elevator. Jackie’s leg shakes and she knows that silence is about to end.

“Ahh, there's the awkward silence. You, uh, wanna hear a joke?”

“Now? Seriously?”

“OK, so why'd the rockerboy's output kick him out of the apartment? ‘Cause he wasn't chippin' in.” Jackie cackles at his own joke and V rolls her eyes, a slight smile on her lips.

“Jesus Christ…”

Bug sounds a moment away from killing him, but thankfully for the older merc’s sake, the elevator comes to a stop. Doors opening up to Yorinobu’s suite. It feel different, seeing it from her own perspective instead of Evelyn’s and outside of a braindance editor. The entire suit feels bigger. A part of her wonders if it’s the height difference between herself and Evelyn, but decides to chalk it up to braindance shit instead.

“Huh… not bad bein' heir to the Arasaka empire. Sure as shit better'n bein' the son of Raúl Welles,” Jackie comments taking in the room.

V turns the corner through the room and a tank catches her eye. A slightly red light illuminating an iguana. It immediately reminds her of the only other iguana she knows, Manny. Come to think of it, his original crate was from Arasaka?

“Hey, Jackie, look!”

“Whoa, another fuckin’ iguana, not as cute as Manny though.”

“Manny’s original crate was marked Arasaka; think he might’ve been Yorinobu’s before we klepped him?”

“Think we stole his iguana and made him get a new one?”

“Maybe?” She gently taps the tank glass, watching the iguana’s tail flick back and forth.

“Guys! Focus! The safe! And make it quick!” Bug yells out, bringing the merc’s back down to earth. V tosses her jacket onto one of the seats in the center, searching around the penthouse. Rain patters outside the windowed walls. They know where the safe is, but how do they get it out of the floor?

“Why, what's the rush?”

“Sig on Yorinobu's gone dark!”

“What is he, a fuckin' sorcerer?”

“Some kinda dead zone's my guess - have him back in a sec. And you do your damn job! Look around for a switch.”

V walks around one of the dividers where Yorinobu’s bed is, the slick metal of a gun catching her eye first and foremost. Black and gray, with purple detailing. She checks it for ammo and finds it loaded then decides it’s hers.

“Looks like Yori left us a little gift,” she laughs, tucking the iron in her waistband. And on the other side of the bed, she finds a little switch. She presses it.

“Bingo, got somethin' ejectin’! C'mere, V!” Jackie calls her over to the corner of the room, heart pounding in her chest.

They’re so close to the finish line, each click of her heels feeling like a step closer. This could actually work. A large black safe has risen out of the floor, a small jack in port and two red lights. Jackie stands on one side of it, the gray rainy day behind him.

“What now, Bug?”

“Jack in your personal and make us rich.”

V plugs her personal link in, leaning one hand against the safe. Jackie leans against it from the other side, foreheads nearly touch as they wait for Bug to work her magic. Just get the chip and walk out, that’s all that’s left. All they need to do. She can’t stand still, itching to cross the finish line, minutes away from the major leagues.

“Gimme two…”

The merc’s interface shows Bug uploading the daemons to crack the case and V watches the number rise. Sixty percent, seventy, seventy-five; each ticking number another shaky breath, a rising beat of her heart, and a chill up her spine. Homestretch, nearly there.

And there’s a hum, V’s focus drawn away from the rising percentage, to the windows. Flying AV whirring through the gray skies, hovering around. She looks to Jackie, hoping somehow he’ll have an explanation, something to help her ignore the way her stomach is starting to drop.

“We got winged visitors… Bug…?” There’s catch in his voice, nerves. Jackie’s scared and she swallows the lump in her throat. His face illuminated in the red flashing lights of the case, mean reds, the words flash in V’s mind.

“Dunno who. But staffs abuzz, all two hundred on their feet, can't keep still…”

Somethings wrong, the hair on the back of her neck stands up, a chill in her she can’t shake. Something is so fucking wrong.

“Can't say I like this, how much longer, T?!”

“Shit. Yorinobu's penthouse bound!”

“What!?”V’s voice cracks, digging her nails into the safe, they’re fucked. They’re so fucked.

“Fuck him!” Jackie slams his hand down, rattling the container, “Open the safe!”

“Almost got it… Done!” The safe opens, revealing a cryo-container within. Bright white light and a fog of ice cold air coming with it. V rips her personal jack out.

“Preem, lets get the fuck out of here!”

“Lemme look to this, eh?” Jackie says, pulling the container out and looking at the little screens across it.

“Relic intact?”

"Bioshard integrity - one hundred percent." Guessin' that's a yes,” Jackie reads off the vitals of the shard, picking up the case.

“Good, let’s delta.”

The pair nearly trip through the center of the penthouse, rushing towards the elevator with Jackie lugging behind the giant cryo-container. So close, so close, so fucking close. An elevator and taxi ride away, then they’ll be at The Afterlife counting their eddies. The homestretch.

“Fuck, too late!” T-Bug yells before V can hit the elevator button, “Yorinobu's about to walk in - find cover!

“Where in the fuck!?” V swings her hands as she yells, they’re so fucking close. She rakes her nails across her face, leaving red angry marks down her skin.

“That pillar- try that!”

“You fuckin' kiddin'?!” Jackie screams as the mercs make a move to the pillar in the center of the penthouse, were she thought servers for the room were kept. The back of it opening up and allowing a tight passageway.

“No! Inside it! Now!”

V slips inside as quickly as she can, Jackie following suit. He holds the cry-container close to his chest. The glass barrier is one way, they can see out, but it can’t be seen in. Still not ideal cover, ideally they’d be outside of the fucking hotel by now. The merc presses her hands to the glass, cursing under her breath.

“We’re in,” she whispers to Bug.

“Which don't solve our problem, T.”

“I fuckin' know our problem's still there! Lemme think for a sec, okay?”

The lights to the penthouse come on, elevator doors opening as Yorinobu strides in. with mechanical monstrosity of a body guard from the BD taking large whirring steps after him. And he seems even bigger now. He’s a cyber giant, one mech hand larger than any part of V.

He’s outlined in red, his eyes staring straight at her, Vik said her new contacts would highlight if enemies saw her.. No, there’s no possible way. The man has barely set a borged-out foot into the room. She meets his gaze head on, swallowing the lump in her throat as she tries to seem braver than she is. On the off chance he may truly know the mercs are there.

“Is that… Is that Adam Smasher?” Jackie whispers and V trusts him to look at her hands as she signs, not wanting to break eye contact with the robotic monstrosity, refusing to show weakness.

“Bodyguard?”

“Worse,” her trust in her friend is well placed, “Night City legend. Bleak motherfuckin' one, too. What's the plan?”

“We stay quiet and we wait.”

A flash of movement makes V finally break the stare down, Yorinobu walks to the middle of the room and stops at the seat across from the table, black fabric strewn across it. He picks it up, regarding it for a moment and her heart drops into her stomach.

V’s jacket. She left her fucking jacket on his chair, like an idiot, she didn’t even have time to consider grabbing it. They’re going to die because she left her fucking jacket out in the open and Adam Smasher is still staring at her.

She half expects Yorinobu to call a sweep of the room, ring security, that he’ll realize the random jacket must be an intruder. But he shakes his head, tosses it aside onto the floor, not giving it another thought. While his body guard Smasher lingers in the corner, robotic eyes staring straight at V, watching the mercs squirm.

“Are they here yet?” Yorinobu asks out loud.

“They approach from the landing pad,” an AI voice responds.

“Fuck are they talking about?” V resists the urge to elbow Jackie, silence has never been more important. One sound too loud and a borged out psycho will rip their heads off. And if her contacts are right, Smasher may just be waiting for the perfect opportunity.

“Nuh-uh, no fucking way…. This isn't happening…!” T-Bug whispers over comms and V sees someone coming down the spiraling stairs, a guard it seems, with another older man following him, “Saburo Arasaka.”

The second man is older, much older than the first. Balding with gray hairs and liver spots across his scalp, glasses perched high upon his nose. Dressed in a mixture of yukata robes over what seems to be slacks and loafers he takes slow measured steps down the stairs. The head capitalist himself, owner of Arasaka.

“The emperor? Yet another asslickin' legend….”

V taps Jackie’s side and puts her finger to her lips, encouraging him to be quiet. The man who led Saburo in starts to walk around the room. He’s older than V or Jackie, but nowhere near Saburo’s age. Long graying dark hair pulled back in a bun, cyberware across his neck coming out from under his black suit.

“I thought I told you not to meddle in my affairs,” Yorinobu speaks in his native tongue, V’s contacts translating and subtitling to English.

“Oh fuck,” Jackie curses as the long haired guard comes to stand in front of them, silver ringed brown eyes starting to scan them.

“Leave us,” Saburo orders and the guard stops scanning, turning to face the corporate leader.

“Arasaka-sama, I still haven't done a full sweep.” The guard turns his back and V can see where part of his hair is shaved, allowing intense cyberware extending beyond his neck and towards his scalp.

“This is my son.”

“Of course. Should I retrieve what we come here to-”

“I will handle it. You may go.”

The long haired guard bows and goes to leave the room, finally Adam Smasher’s gaze on her drops, as the borged freak leaves with the guard through the elevator doors. If they’re here to retrieve something… it’s likely the biochip, which means if they go to get it and see it’s gone… They’re fucked. They’re straight fucked.

“Un-fucking-believable… Saburo Arasaka.” That comment makes V nudge Jackie with her foot, once again begging him to just stay quiet.

“Did you think I wouldn't know it was taken from me?” Saburo asks his son, barely making eye contact as Yorinobu looks through a datapad.

“Actually, I don't think of you at all. Ever. You see, that's your problem. You think the world revolves around you. Arrogant.”

“Yorinobu.”

“Why did you come? To humiliate me? To personally see to it that your son knows his place?”

“"The nail that protrudes from the wall gets hammered…"

“Couldn't think of anything original to say?” Yorinobu yells in exasperation, standing up and pacing around the room. He’s on edge, looking ready to jump out of his skin and V can’t say she has a good feeling about any of this.

“And do you think it ‘original’ to sell our greatest achievement to Westerners - our future to these… barbarians?!”

It’s definitely the biochip Saburo is after, they’re screwed, monumentally screwed. V would laugh if she didn’t feel like dying, of course, of course it all goes to shit.

“Our future? Ours?! You are mistaken. You've only ever cared about yourself… and your sick schemes.” Yorinobu points and swings his limbs, still pacing, every word coiled tight with barely restrained hatred.

“I knew this day would come. That sooner or later your impudence would cross the line,” Saburo is calmer, measured, taking soft steps towards his son, “There is much for which I could forgive you, but for treason - no.”

The two men, father and son now stand in front of the pillar before an audience they don’t know. Stares trained on each other, each hateful, but one furious in it’s spite and the other calm in it’s contempt. Moments pass, no word said, each waiting for the other to light a fuse that will set off the powder keg.

“I'm just glad your mother didn't live to see this. The heart should break but once.”

And it goes off. Saburo’s words are punctuated by Yorinobu’s hands wrapping tightly around the old man’s throat. Yorinobu slams his father back against the pillar, cracking the glass in front of Jackie and busting open Saburo’s head. Blood streaking the shards. And he pulls away and for a moment, as Saburo clutches at his crushed windpipe, Yorinobu seems nearly regretful.

“You shall never have to forgive me for anything again.”

His hands wrap again, choking his father against the pillar. Until Saburo starts to fall limp, Yorinobu bringing him down onto the floor in a lifeless heap. Yorinobu stands over his father. Saburo is dead, killed before the merc’s very eyes at the hands of his own son. Jackie curses and V watches as Yorinobu paces, mind clearly racing before he stands over his father’s corpse again.

“I wish… I wish to put the hotel on lockdown.”

What does that mean? What the hell does that mean?

“May I ask why?” The AI secretary asks him.

“Saburo Arasaka has been murdered.”

“Code red initiated. Attention! Code Red has been initiated throughout Konpeki Plaza. Please remain in your rooms and follow all instructions given by staff.”

Oh no, oh fuck no. The lights in the room drop, only bright neon red ones glowing angry in the dark. What the hell is going to happen? What the fuck do they do now? The elevator doors open, Smasher and the long haired guard walking in; the latter rushes and comes to a full stop when he sees Saburo’s corpse.

“What happened?”

“Someone… someone poisoned my father.”

“Poisoned…?”

“Seems so.”

“Yorinobu-san… I doubt…”

Yorinobu glowers at the guard, pushing into his personal space, trying to intimdate him. Trying to make him stop questioning what happened, trying to stop him from looking any closer. Anyone who gets a good look at Saburo’s corpse will see the fingerprints around his neck.

“What is your job, Takemura?”

“I don't follow.”

“It's a simple question. Answer it.”

“To protect the head of the Arasaka family.”

“I do sincerely hope you'll do a better job of executing your duties from now on…”

“Forgive me, Arasaka-sama,” the guard drops his head in shame, “I shall not disappoint.”

Yorinobu turns to leave the suite. The guard, Takemura, follows close behind. And the still red highlighted Smasher follows behind him. The elevator doors close behind them. Jackie and V left alone in the suite again. But what the fuck just happened?

“What the fuck just happened in there?” T-Bug asks, exactly what’s rattling around V’s skull as the pillar back opens again. Jackie and V clambering out.

“Yorinobu just killed Saburo, he fucking choked out his own dad, I didn’t even know you could do that!” V rambles and yells as she turns the corner of the pillar, looking down at Saburo’s corpse. She quickly checks his pockets, stealing some cash and a pair of dog tags off of him.

“What?”

“His own fuckin’ pops.”

“Know what this means?l Security's gonna swarm the place any second. Oh my god, we're so fucked!”

“We need to get the fuck out of here, now!” They can’t just go out the elevator, they’d meet security on the way. They’re beyond fucked. Why the hell did they take this stupid fucking job!?

“Gimme a sec!”

There’s the helipad, but it’s not like they have anything that fucking flies. Think, think, think; she screams in her head to just fucking think, there has to be something, anything.

“We don't have a sec!”

“Okay, got somethin'! Window - now! Releasing the lock! Should see a ladder… Ladder…”

V sees an opening in the large windowed walls, double doors practically made of glass they goes onto the ledge. This has to be in, T-Bug can undo the lock and they’ll slip out.

“Oh fuck.” T-Bugs voice drops and a chill shoots up V’s back, something is wrong.

“Bug!?”

“No, no, no, no - not now…! I’ve been made… “

And panic turns to agony as T-Bug screams, a shrill cry of pain then she’s gone. Connectuon cut and V freezes in place.

Bug is gone, just gone…

Maybe, Konpeki just cut their comms? But the scream rings through V’s mind. She’s heard of how runner’s can die, daemons and quick hacks. Having their entire brain fried, every nerve and neuron set on fire, burned from the inside out... And all that's left to find is a simmering corpse stewing in their own filth. Bug was never meant for that, meant to retire, meant to find peace after years of netrunning. But now…

“Bug.!? Bug!? Can you fuckin’ hear me, Bug please, are you there!?” V calls out, words slurring together. She just needs to hear Bug one more time, and know everything is okay.

And nothing.

“¡Pinche Dios Santo bendito! We lost her, V!”

“They...scorched her...didn’t they…?”

“We… we gotta go, V,” Jackie says, voice cracking as he smacks at V’s shoulder.

Bug’s final hack going through, the window unlocked. V steps out through the window onto the ledge, rain pelting her skin as she rushes around the corner. Bug said there’s a ladder they can use, last thing Bug ever said… There’s no time for mourning, no time to cry, they need to get through this. The ledge narrows around the corner, ride lights outside the hotel window guiding the way, secured against the steel of the hotel. V sees the yellow safety ladder. The merc presses her back to the building, gently side stepping across the narrow ledge, if they just reach the ladder. One wrong step and they’ll plummet.

“You can do it, Jackie… just don't look down,” jackie tries to talk himself up, following V, “ Yep, that's fuckin' high…!”

There’s a whir of engines, an aircraft vehicle buzzing around the outside of the hotel.

“Shit! That Trauma?” Jackie asks and that’s exactly what they need right now, doctors shooting them.

“If they’re here for Saburo, they’re a little late.”

“Just hope they didn't see us! ¡Chingada madre!”

The aircraft carrier flies in close, flashing blinding white light onto the mercs. It sees them, definitely sees them.

“Suspects in violation of security protocols.” The mechanical voice croaks out.

“Time to bail!’ Jackie screams and the aircraft starts to fire, drone automated shooting at them.

The glass around them bursts and V jumps, grabbing Jackie’s hand in her left, she swings her right blade out towards the ladder. It hooks in the bottom rung, creaking in distress as it stops their fall. And there the mercs hang, suspended by a single Mantis Blade and a ladder rung; rain pouring down upon them and a drone still searching for them through the debris. The strain pulls at V’s arm, pain shooting throughout, shoulders ache and left arm pulled tight trying to hold Jackie and the case he holds in his other hand.

If she could pull them up with the blade, maybe they can get to safety. But her muscles already strain, wrought tight with the strength it takes to hold them up. The blade pulling at the inner tissue it’s attached too, never meant to support more weight than the person it’s attached to. Rain and tears sting her eyes as she forces herself to pull with the blade, use it to lift them up.

“V! I can’t hold on!’ Jackie yells out, rain slick hand starting to slip from her own. She digs her nails into his skin, holding him tighter.

“Just a bit more, I can do this!”

Her throat is raw and she doesn’t know how much she believes her own words. Nerves scream in pain as her cyberware pulls at what’s left of her flesh. Muscles cry as forced beyond their capability. She curses beneath her breath, pulling them just a little further up. Immeasurable pain and brute force of will only amounting to the tiniest bit of progress, not even an inch closer to safety. Her blade is pulling further out from her skin, raising up from her arm in a way she knows it shouldn’t.

Every nerve in her arms on fire; blade tugging at flesh and the other nearly pulled from socket under Jackie’s weight. Barely an inch closer to the safety, Jackie slipping from her grip quicker than she can pull, blade lifting from her arm quicker than she can move them. Her teeth sinks into the inside of her cheek, hard enough to bleed as she pushes herself further. Closer, closer, she urges herself.

A bright white light shines across them, illuminating them in the gray night, adding another ache to her eyes. Drone marked Arasaka buzzing around, refinding them within the debris of the destroyed hotel wall. The robotic voice speaking again.

“Violators found.”

And her blade breaks, V’s eye blown wide as they begin to plummet, shock blurs her pain and deafens the world. Slowing it for a moment, only able to stare as metal snaps, tissue tears, and her arm is ripped open. Cyberware tearing out tissue and nerves, viscera left behind.

Then she hits glass, shattering it as gravity slams her through and shock becomes hurt. She hits metal, body bouncing from impact, crying as the air is knocked from her lungs. Her head bashing against something. V clutches her arm, the pain it hitting her as everything else does, blood sticking to her fingers. Each breath hurts, a labored wheeze as bruised lungs strain to work.

V blinks, sitting up slightly, regaining her sense of self now that her fall is broken. Across from her is Jackie and the cryo-case. She looks at her arm, A solid rip from wrist to near elbow, nearly an open hole, metal and moving inner parts of the cyberware mixed with gore. It doesn’t bleed as much as she'd expect, the internal mechanics helping block major bleed out. It hurts, metal now working against raw nerves. But, she’ll live… if this is the worst that happens, she’ll live.

The cryo-case is dented, part of it sparking and part of it splatted with blood. But her eye is drawn to Jackie. A tear in his gut, shrapnel and glass caught him well, bleeding more than her. The white of the button up around his stomach turned scarlet.

“The Relic! ¡Madres! Agh… Oh, this ain't good. Agh…” Jackie curses, each breath pained.

“Jackie, you’re hurt!”

“Worry about me later,” he growls, “check the relic… "Container depressurized. Biochip integrity at ninety-four percent." And fuckin' droppin'! Carajo! Parker! Call her!”

“And tell her what!? We fucked up!?”

“Just do it!”

Evelyn answers after a short ring, her avatar coming across V’s contacts.

“V?! Konpeki's all over the feeds! What the fuck's going on there?”

“Got a problem! Cryo-case is damaged. Biochip's integrity at… Jackie?”

“Eighty-six percent!”

“Eighty-six percent and droppin'!”

“Shit…! OK, listen to me. There's only one thing you can do. One of you's gotta slot the Relic into your neural port!”

“That sounds really dangerous!”

God only knows how this biochip could fuck them up, the relic itself is like putting another personality in your head, seeing ghosts. If this one is even half as fucked up as that, they could be putting themselves in serious danger.

“The longer you wait, the greater the risk we lose it!”

“Well, someone’s got to do it,” Jackie says, voice a rasp, face steadily draining color as he opens the case, “In the name of the Father, Son, and the Holy Spirit - Amen.”

Jackie crosses his body with the pray and pushes the chip into his neural port and V watches his eyes light up for a moment. And he’s quiet for another, a second too long.

“You okay?”

“Dunno… I guess… Don't feel any different.”

“Once you're back, we'll take out the Relic and run a full brain scan and sweep. But you two need to get the fuck out of there first!”

“We’re working on it!”

Jackie and V get back on their feet. He holds his hand to his stomach, trying to press his guts together and she keeps her arm held close to her chest, not putting pressure on it. Jackie calls Delamain.

“Del, we'll be there in a couple. Be ready, got it?”

“Certainly, Mr. Welles.”

“Better be fuckin' certain.”

“We gotta somehow… reach the lobby. Only chance to hit the garage. And we'd best be quick,” Jackie jabs himself with an air hypo, “ Oh-ho, that's the shit… Great… Now let's get outta here.”

“Wait, take your jacket off, use it to keep pressure on your gut, okay? Should help with the bleeding.”

It’s minimal first aid knowledge, she knows. Hold something to a wound to keep it from bleeding out as quickly. But it’s all she can offer, helping Jackie get the jacket off with one hand, so he can press it to his stomach wound. She can move her right hand somewhat, but it hurts and she swears she can see the tendons moving around the metal in the gaping wound her forearm has become. She catches herself wondering if she’ll be able to sign with her right hand again. But, there’s no time for those fears.

She walks down the red lit metal grate, heels nearly catching in it as she turns to a doorway. V leads the way, less injured than Jackie, she pushes the door open. A door lobby with glass banisters and plants, the only light the bright red ones.

“Great… Now let's get outta here,” Jackie says, each word a stressful choking sound to get out.

An AI voice speaks repeatedly over the speakers that Konpeki plaza is in code red, as the mercs work to move quickly and quietly. Catching the murmuring of two guards as they reach a marble staircase, speaking of sweeping the floors and checking the lobby. They creep around the corner and past a desk, seeing the back of the men’s through the glass banister. The only sound the pounding of V’s heart and Jackie’s labored breathing. They watch as the two men separate, enough space for each to grab one.

They move down the last stretch of the stairs, guards talking about evacuating Yorinobu. She lets Jackie take the one closest to them as she moves further to the one at the doorway. V swings her left blade, now her only one, through the man’s gut. Her right arm shoots pain through each nerve, metal inside churching to dispense a blade that no longer exists. She holds back a sound, Jackie’s already choked out the other guard, checking for pockets. Each one armed with a silenced gun. She steals ammo off of them.

They come to another door, each catching their breath. Sweat clinging to V’s brow as they brace themselves for what’s to come next.

“Careful… security likely to be swarmin' outside,” Jackie warns and V nods, words clumping together in her throat as she opens the door.

They stay crouched, spotting more guards as they go. The pair hide behind a planter, V taking a scan of the area, spotting a security camera. Remembering Bug’s lessons, she’s quickly able to shut them off. She’s the one to step back out, leading the way for the first time in months of working together. V needs to get Jackie through this, he’s holding on now, but..

She grabs a guard from behind and snaps their neck, arm twinging in agony at the movement she throws their body aside, clearing a long stretch of hallway for Jackie to follow her down. All light bright red and screens that once showed commercials now flash the words, Code Red. She leaves Jackie to stay hidden behind a counter when she sees another by the doorway, jumping at his back and dropping him just like his coworker.

“Ain't doin' too bad… Just a little further…” Jackie whispers as she drops another guy, her arm screaming at her to stop. But she’ll survive without an arm, if worse comes to worse, she can’t let Jackie get hurt any worse.

They creep through a door, past a desk, hearing a guard yelling out as they sneak and weave through the room. She watches over the top of a planter as the guard walks past them, none the wiser as V creeps around, getting behind him, and taking him down. She can’t risk leaving any behind, leaving one alive and them finding the mercs later. The hotel is huge, a labyrinth of Arasaka guards.

“Engaging hostiles!” A voice booms out, the mercs spotted by a heavily armed Arasaka guard who nearly trips over V.

Fuck, fuck, so much for stealth. Jackie shoots over a counter, trying to stay somewhat protected from the gunfire, while V takes lead, firing Yorinobu’s gun at the men, only dropping behind cover to reload, she blasts. Fuck it, stealth not an option, she’ll turn the whole damn hotel into a blood bath.

The guards drop and V knows she’s been shot, but she’s standing so she moves onward. Through a doorway, three more men open fire as the mercs turn the corner. V blasts a bullet through ones head, Jackie blows the second full of holes.

“One more fucker dead!”

The third is further back behind a glass door and V charges forward, glass open as she fires at the man. Bullets ripping through his chest in a spray of blood before he collapses, red smeared across the marble. If she gets a chance to sleep tonight, she’ll be seeing red in her dreams. The vivid neon lights of the emergency lit hotel, the burgundy uniforms, and the steady spray of it from every shot fired.

Jackie and V go running around a corner, through another glass doorway and slide into side of a marble planter. Taking a moment to breathe, she can hear guards talking. Orders from higher up, panicked yells from the less experienced. She can spot two around the corner, but can’t get a clear shot. She runs to the open doorway, catching one off guard as she slams into his view and rips a blade through his gut.

A full armored worker fires off when he sees it, partially hidden by a linen rack. Another runs in, half hiding behind a planter, firing off around the corner. She presses against a wall between it and a partial doorway, reloading before she looks back through. The less armored man moves around a pillar, peeking from behind cover, and she shoots his head as soon as she sees it, watching him hit the marble.

She struggles to get a clear shot of the third, still hidden behind the rack and so she runs forward, past the rack and coming to a sliding stop behind him. The guard fumbles to swing around when he realizes where she’s landed. Back turned to Jackie now, her friend fires a shot clean through the guard’s head.

The room is cleared for a moment and the elevator is nearby, she runs past a desk, when she sees the button screen. A glowing red off symbol.

“Fuck!”

“Chingo tu madre! It's shut down! What about the other one?” Jackie yells between rattling breaths, she wanted this to be stealthy, didn’t want to put him anymore danger.

She runs, heels clicking against blood streaked marble, nearly tripping over a corpse. Quickly trying to stop herself when another guard springs up behind a desk. Two more swarming the room, one in the heavy almost samurai-like Arasaka armor.

“Orale! Got to plough through them!”

She focuses on the Saka samurai, pulling the trigger again and again, Thankful to have emptied the ammo off every body she’s dropped so far. A bullet catches his throat, a gush of blood as he paints the floor, and she shifts to the other men. A headshot on one, the other already down thanks to Jackie.

V searches their corpses, pocketing ammo and bounce backs, when she finds an access token on the samurai. V thanks any god that may be listening, if they exist and makes a beeline for the elevator at the end of the room.

“Got access,” she breathes out, calling the elevator.

Its doors open and she steps in, the side railing lit that bright red. She waits as Jackie rushes in, he’s still in somewhat decent shape it seems. Not the ideal heist, she thinks as she hits the button, but maybe they can get out of this. Rush Jackie to a ripper, check on T-Bug, collect their eddies, and tonight will be a story to tell later. Remember the Konpeki Heist, how everything that could go wrong did.

“Hah-… agh! Heh, hng…” She can’t tell if he’s laughing or groaning in pain, maybe both. Blood is coating his hands, has he bled through the jacket? No, Jackie’s bulletproof, said it himself a billion times. He’ll be okay, he has to be.

“Jackie…”

“Saburo Arasaka, Hundred and fifty years… and today… of all fuckin' days. That's like… some divine comedy shit… hehehehe… agh.”

And he’s laughing, of course he is, holding his guts together and he laughs, because why would Jackie Welles do anything else. She’s not sure if she’s going to cry or laugh along, if she’s charmed or infuriated by it; is he just still desperately searching for that silver lining or does he genuinely not give a fuck if he flatlines? That idea, the thought, makes her throat tighten. He can’t die, he won’t die, she won’t let him.

“Save your strength, please, we’re not out of the woods yet.”

“What do you think I’m doing!?” She doesn’t miss the frustration, because if he wasn’t so hurt, he’d been the one leading that battle, charging in to take brunt of it all, “Buuut… chill, V. We'll get out alive.”

“I know we will,” she says and wants so desperately to believe.

The elevator reaches the lobby, doors open to more guards, more gunfire. She shoots at one that looks out behind a wall, three more in the main room of the lobby. Jackie slides behind a desk, using it for cover between shots. V takes lead, shooting from around a doorway. Its chaos and mayhem, V blasting the four men. One dropping behind a chair, catching one through the green ferns growing from a planter. Three more Arasaka corpses, splattering blood across marble and the roots of those towering trees. Bullet after bullet, shot after shot, until her ears are ringing and three remain; the mercs and one last guard.

He throws a grenade across the room at them, V shooting it in the air before it can hit them, smoke and fire smoldering across the ceiling. She uses the chance to close the gap and blows his brains out at close range.

Room cleared they rush through the rest of the lobby, finally reaching the elevator that will take them to the garage. V slams the button, calling the elevator. The door opens and she runs inside, expecting Jackie to run in after her. His steps are slowing and he leans against the wall for a moment instead, having to catch a second wind. He’s getting worse, but they’re in the homestretch, they can do this. They can do this, he stumbles through, leaning against the elevator wall.

“Argh… I'm leakin' a little…” His voice a rasp.

The elevator stops at the garage, so close to safety. Doors opening she can already hear the guards and the mercs step out, eye on them, its a swarm of Arasaka. Gunfire rings out alongside the screech of brakes. The Delamain taxis coming to a stop in the center of the garage, it’s doors flinging open.

“I advise that you waste no time in entering the vehicle,” Delamain chirps at them, like this is a normal night.

But she needs no prodding. V grabs Jackie’s hand and runs for the taxi, dragging him through the garage to the open doors. Rather than making him walk around, she shoves Jackie through her side on the right, letting him slide into the left seat before she jumps in; he needs the extra second of protection more than her. The doors shut, bulletproof shields raising as they the taxi is blasted by the guards. They’re safe? Right?

“Welcome back. With Delamain, you leave your problems at the door….”

“DRIVE NOW!”

And Delamain does just that, engines firing up as he rams through the garage door like it’s nothing. She leans forward on the two front seats. As the taxi takes a sharp turn, they’re almost there, almost safe. Jackie wasn’t fucking around about the combat mode.

“Not bad at all.”

“Client feedback noted.”

“How’s the ride looking?”

“Tiptop. Though alas, we are being pursued.”

And then she sees him, Adam Smasher, the borged monster of a former man rushes them. No hesitation, no fear, as he slams his entire body into the car. Shattering glass, gnashing metal, and nearly sending the car to the side; slamming V and Jackie to the right.

“Sweet fuckin’ jesus!”

Jackie curses as V screams, the hell kind of freak is this guy? The car goes back down on its wheels. Adam Smasher on a metal knee, slowing standing up on front of the car.

“Combat mode activated. Please remain calm.”

“Calm!!!????” She yells out as Delamain begins to drive backwards.

“Road block ahead. I kindly request that you brace for impact.”

“¡Oy, mis huevos! Shiiiit!”

The cab takes a turn, rather than driving through Adam Smasher, it goes through another roadway. A row of cars blocking the way and Delamain slams through through without hesitation, taking them through the Night City roads away from the hotel. Jackie is hunched over, bloody hands still pressing the jacket to his gut, the white shirt soaked through with it.

“A hostile enemy aircraft has a lock on us.”

V doesn’t need a word more from the AI taxi, climbing halfway out of the window, she spots the drones flying after them. Three of them. Needing steadier aim, she flips off her hearing aids with a thought, steeling herself as the car weaves through the road and she fires at them. This is Arasaka’s last ditch effor to keep a lock on them, if she can get rid of them, they’re in the clear.

Three shots; first drone goes down sparking as it hits the city streets. Two more kills the second, the metal remains slamming into a streetlamp. And the third goes down with a final shot, smoldering onto the roof of a BD store. She turns her hearing aids back on as she slides into her seat again; they’re gone.

“Hostile aircraft eliminated.”

“Nice work there… Del…”

She shifts to look at Jackie, he has one hand on his stomach, the other braced against the door. V grabs his shoulder with one hand and his leg with the other, practically shaking him.

“We did it, Jackie! We made it!”

“Heh...guess we did…” It’s not the triumphant excited Jackie, she’d expect to hear. His voice still rough, a rattle barely leaving his lungs. Her eyes sting, no, no.

“My medical diagnostics indicate that Mr. Welles’ condition is critical.”

“Critical, what- take us to a fucking ripperdoc, now! Vik’s behind Misty’s shop!”

She reaches to put pressure against the jacket over his wound, hand over his, but the fabric is bled all the way through. Blood sticking to her skin, warmer than Jackie’s skin and he’s looking pale, paler every second. He leans back against the chair, strength starting to leave his body.

“Apologies, but that will not be possible. Our itinerary has been pre-arranged and paid for in advance. I am not at liberty to alter it.”

“Fuck your itinerary and fuck your liberty, just get us to goddamn doctor!”

“It's OK, V… I'll hold out…”

When did his nose start to bleed, when he did he start hacking up blood, red streaking down his nostrils and over his chin. She sucks in a shaky breath, eyes starting to water. No, not Jackie, anyone but him… please. She doesn’t know who she’s begging; maybe god, maybe fate, maybe just anything in this world that will listen.

“Yeah, yeah,” she chokes out, nodding, “you-you just got to hold on, okay? And, and, we’ll hit the major leagues. Only the best jobs, swimming in eddies, just like you always wanted.”

She brings her forehead to his, feeling the cold sweat of his skin, hoping her warmth, touch, her words; anything will keep him alert. The tears flow freely now, wet and hot on her cheeks.

“Mija... you’re gonna be rich, I can feel it…”

“No, we’re gonna be rich, Jackie! You and me, that’s how it’s always been, I-I can’t do it without you, y-you got to stay with me okay! We’ll get back, you can see Misty and your mom, everyone and let them know you made it.”

“Misty… She knew… She always knew…” he breathes out, eyes glassy with a weak smile, “told me not to take this job, why she always got to be right?”

“J-just a little longer, please, Jackie...please,” she begs him, like he can stop it. Like he can put his inside back together, stop the color from draining out of his face, and can just stay with her.

“The biochip…” he holds her shoulder, grasp weak, and takes the chip from his head with the other, “Hold on to it. For me…”

And he slides it into her neuroport, her vision glitching for a moment. She surges forward, wrapping her arms as tightly as she can, burying his head into his chest, crying into him as she clings tightly; wishing she had the strength to just hold him together.

“Please, please, Jackie, I can’t lose you, just a little longer, please,” she sobs into his ashen skin and blood soaked shirt, begging with every slowed beat of his heart.

For a moment his hands graze her back and she waits for a bear hug, for him to squeeze the breath from her lungs and lift her from her seat like he’s done so many times. For him to be Jackie; her best friend, her partner in crimes, her brother, her everything. But his touch is faint, the space between each beat growing further and further. Until his hands fall limp, body slack in her arms, and she knows the next heartbeat will never come.

And she sobs, she holds him and cries out her pain, if only for a moment. No more ‘chicas’, ‘jainas’, or the odd ‘mija’. No more smiles that outshine the sun. No more nagging her to look on the bright side. No more bear hugs or hands the size of her head ruffling through her hair. No more Jackie…. And it’s not fair and it’s not right.

“Mr. Welles has passed. Where shall I take his remains?” A robotic voice asks and she realizes the car is no longer moving.

She forces herself to let him go, one of the hardest things she’ll ever have to do. Pulling away, she sees him, truly lifeless. Bright green eyes now dull with no light behind them, limp hands falling away from her.

“W-what?” She stumbles over the word, brain fogged over with grief.

“The Excelsior package provides for the disposal of passenger remains free of charge. I merely require a destination.”

“I…he-he’d want to be with his family,” she stumbles across her words.

“Mr. Welles' closest blood relative is Guadalupe Alejandra Welles, proprietress of the El Coyote Cojo bar. I will make sure to deliver him safely. Mr. DeShawn awaits you in room number two-oh-four. ”

That’s right… Dex… The chip. The world didn’t stop spinning, only her’s. There’s still a job. And the idea of still going, that there’s a tomorrow beyond today, seems unfathomable. How the hell could she ever move on…

Because Jackie would kill her if she didn’t and she knows that. He’d haunt her for a thousand years and kick her ass every day of it. She looks at the remains, her friend gone, now limp and bleeding across white leather. And knows if he could speak, he’d tell her to get her ass to that hotel room and finish this job, that he and Bug didn’t die just for V to bury herself alongside them. She squeezes his shoulder, presses her forehead to Jackie’s one last time, feeling the cold of his skin.

“See ya in the major leagues, Jack…”

V opens the car door and steps out into the backlot behind the motel. Rain pours down across her bloodied skin, soaking her to the bones, a numb chill clinging to her. Painted across brick is the Night City emblem marks the wall, red graffiti altering its slogan.. The city of broken dreams…

She moves, on autopilot as she makes her way up the stairs and to the back door of the motel, sheltered from the rain once she’s in a trash filled back room. The motel is bathed in the neon red lights, only offset by the white of sign bearing its name, it’s always red. She stumbles up the staircase and then another, past a tv chattering on about Saburo Arasaka.

The merc walks down the gloomy hallway, dark except for warm yellow floor lights, Graffiti covered walls, rain washing down the windows at the end of it. And she reaches room 204, her arm leaden as she knocks.

No response.

“Its V,” she yells out, knocking harder.

The door opens but before she can take another step, Dex’s body guard takes a step out. Large hand blocking her from coming further. He checks the hallway, making sure she wasn’t followed. After a moment, he finally pulls away.

“He waiting.”

The man takes a step back, allowing V into the room. She pushes through a bead curtain and sees Dex, leaning over a TV screen, another cigar between his golden fingers. She clears her throat, hearing the door close behind her.

“WNS… N54… Even the pirate networks… You blowin' up everywhere! And the Jackster? He out in the car?”

“He’s...dead,” her voice breaks, words like thorns in her throat. Having to say it, having to hear it from her own lips…

“Condolences friend,” he tells her, shifting to look at her rather than the tv, “and the relic?”

“Here,” she says, voice a murmur as she taps her neural port.

“Hmm, I was afraid of that…”

“What?!”

She got the fucking relic, everyone is fucking dead, but she got the relic! Everyone died for this fucking chip and now he’s disappointed that she has it!?

“Saburo Arasaka?” Dex paces, smoking his cigar, “Dead…?! You got any notion of the shit you pulled me into?! You offed the fuckin' emperor! His majesty! Anyone with so much as a pinky toe dipped in this mess is as good as dead!’

“I didn’t kill Saburo! I- I-” she stalls, wanting to say she didn’t do anything, but can she say that? Can she act like she didn’t fuck up any of this? Like she has no role in Jackie and Bug’s deaths…

"No shit?l Tell that to the ‘Saka ninjas they send after you!”

“We...we got to leave the city.”

Badlands isn’t the safest for her, but it will be safer with money, she could settle in another city, maybe. She can outrun her family more than Arasaka.

“You don’t say.”

“Call Parker, we close the deal, collect our eddies, and go off the radar.”

“A’ight, settle down,” he sits down on the leather couch, “Gotta be tactical about this. Parker, eddies, then we leave the city limits behind. But first… Your face… got blood all over it. Bathroom's there. Go get yourself cleaned up.”

He points her to the bathroom of the motel and she nods, in no place to argue, she just wants to be on the other side of this mess. To be able to tell herself at least she made it to the major leagues, at least Jackie would be proud of her, even if he isn’t here to see it.

V stumbles into the bathroom, legs wobbling. Everything should hurt, her arm ripped open. Bruises mottling every inch of flesh. But she’s… numb. She works on autopilot, only somewhat aware of the door shutting behind her as she grips the sink, streaking blood across the silver.

Her blood and Jackie’s.

Bile rushes up her throat, stinging as she pukes into the sink, choking and gagging it out. The tears threaten to come again, eyes stinging as he nails dig into the sink. He’s gone, he’s really fucking gone. Her best friend, her brother in everything but blood and name, her rock, and world. The man who took her in, who gave her a goal, a life…

And how’d she repay him?

Watch him die in the back of a Delamain. All her promises to keep him safe, to repay back all the kindness he gave to her. And she couldn’t save him, couldn’t protect him, couldn’t do shit but hold him. Fuckin’ only time she really hugged him with all she had and she doesn’t even know if he could really feel it, if his body was too numb.

If she would have refused the job.

If she had gotten them up the ladder.

If she had been stronger.

If she had been stealthier.

If she had gotten them through the lobby quicker.

If she could have convinced Delamain to get him to a doc.

If she knew better first aid.

If….if… if…

Thoughts spin and whirl through her mind, a thousand reasons why it’s her fault. Why she could have saved him, why she could have done more, why she failed him…

Misty will never take Jackie’s last name and it’s V’s fault. They’ll never have kids, they’ll never buy a home together, he’ll never get to take her to that stupid hotel bar with the annoying waiter.

Senora Welles will be forced to bury her son and it’s V’s fault. She’ll never hold her son again. Never see him smile again. Never see him live out his dream. Never cook his favorite foods for him and nag him not to talk with his mouth full.

Jackie had a future, a family, people who loved him. He was going to marry Misty one day, have kids. Get enough eddies to provide for them and his mom. And now there’s a hole in all of their lives. The world as a whole now worse off without him, her own world destroyed. It should have been her, she knows that, the world would be better off losing her than losing him.

Yet here she is and she’s just supposed to keep moving, supposed to keep breathing, supposed to live a life post Jackie.

When she looks up, she sees her own reflection staring back at her. Red rimmed eyes, swollen from crying and blood splattered across her skin, stuck in the ends of her hair. And she doesn’t know where it’s from, if it’s her own, if it’s Jackie’s, or if it’s from the people she killed tonight. T-Bug and Jackie gone, yet she’s here.

A brilliant talented netrunner is gone. But she’s still here.

The kindest man to walk in Night City is gone. But she’s still here.

She glares at herself, because she has no right to be here and the world has no right to be this cruel. Her fingers clenches, pulling at her damaged nerve endings and she slams her fist into the mirror. Glass shatters and crackles, shards splintering into her knuckles.

V washes the blood from her hands and face, cleaner but still a zombie as she turns to the door. Jackie wanted this for her, one of the only people who ever wanted anything good for her. If only for him, she owes it to him to finish this job. She stumbles to the bathroom door and opens it, stepping out.

Knuckles collide with her head, wracking more pain through an already injured merc, she’s sent sprawling to the ground. She curses and twists around on the floor, not sure she has the energy to stand back up, vision blurring as Dex’s bodyguard stomps on her. Heavy foot colliding with her head. She curses and sputters choking on blood. She twists onto her back, blinking through the pain as Dex’s bodyguard hands him a pistol. The fixer walks closer, standing over her.

“Can't risk it, V,” he says casually, leveling his gun with her head,” ‘Member our first convo?”

“I’ll fucking kill you!” She screams, spitting blood as she stares down the barrel.

“Seems I've chosen the quiet life, after all. No blaze o' glory for me.”

The shot rings out, loud and clear, the world going dark as a bullet rips through the young merc’s head. Blood splatters across the dirty carpet, her body going limp, a final breath gurgling forth as she chokes on her own blood, iron taste clinging in the back of her throat.

Then she’s gone.

#cyberpunk 2077 #cp2077 #silverv #johnny silverhand #jackie welles #female v #aidan becker #aidan v becker #angst

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rigelmejo · 3 years

Text

fyi if anyone besides me IS trying out the Listening Reading Method - I have some tips you can read if you want (or feel free to ignore):

you should see significant progress within 30 hours. If you started as an absolute beginner, did what the guide suggests beforehand (learned some common words like a few hundred, looked at a pronunciation guide, looked at a basic grammar summary), then you should see SOME progress. If after 30 hours you don’t see any - you might be doing it wrong (or its not a method that works for you in which case don’t feel u need to waste ur time on it when other stuff might help you more). (http://users.bestweb.net/~siom/martian_mountain/!%20L-R%20the%20most%20important%20passages.htm)

Someone did L R Method as an absolute beginner in Italian (they already knew french, english). They took tests - were A1 when they started L R Method. They did about 30 hours of L R Method. They took a test again and scored B1. So 30 hours should see SIGNIFICANT progress for a language reasonably close to yours, and SOME clear progress I’d imagine even if it’s a less common language (even some gains from absolute beginner to A1-A2 would be solid and noticeable). (https://forum.language-learners.org/viewtopic.php?f=15&t=1721&p=99415#p99415)

Someone tried to L R Method mandarin as a proof of concept. So they only did several hours, and used The Little Prince (which is much simpler writing/language than the L R Method article recommends using). This is their results: “I tried Mandarin LR as a proof of concept a while ago. I used "The Little Prince", and did a few hours. The first couple of hours were exhausting and I was usually lost; by the end, I was associating quite a few characters with their sounds, occasionally understanding sentences in real time as I read along (knowing what parts corresponded) of up to 7 characters or so, etc. Again, this was a small handful of hours, as an effectively zero-beginner; I know some Kanji, but my active Mandarin vocabulary was probably in the single digits... I think this was after I'd studied tones/Mandarin phonology relatively intensively, but I don't recall for certain.” So - within a handful of hours, someone saw language improvement in Mandarin as a total beginner (http://how-to-learn-any-language.com/forum/forum_posts.asp?TID=38593)

I personally have been trying L R Method as a beginner-intermediate ish learner. What I noticed: without a parallel text (so just using english text for step 3) I improved listening comprehension of words I already partly knew (through reading) FIRST. I also picked up some new words, but listening comprehension of words I knew improved most noticeably the first 10ish hours I did L R Method. Using Pleco’s dictation tool for step 3 (so instead of english text, I use chinese text where the english definition auto-pops up as the audio reads each word), or using a parallel text (so chinese and english visible at same time), both VASTLY improved how many new words I pick up per session. For me at least, seeing the chinese text to keep my place in the audio, and seeing easier what audio matches to what english definition, lets me learn new words faster. Since I waste much less effort trying to just keep the text/audio matched up.

So if the effort of matching up text is draining to you (like it is to me), I recommend: getting an audiobook and chinese text that match as closely as possible. And getting either a parallel text, or using Pleco’s dictation tool in the Reader, or something similar (Pleco’s dictation tool is a lot like using a word by word chinese/english translated text).

Step 2 seems very useful for: giving you context prior to step 3, practicing reading comprehension and reading speed, listening practice with the chinese(target language) spelling visible, and reinforcing what’s learned in prior step 3′s.

Step 3 does seem useful the more you repeat it (I’m just lazy).

Test yourself by trying to LISTEN ONLY every once in a while. You should be noticing some improvements in your listening comprehension - the audiobook chapters you should follow more parts, a show without subtitles you might recognize more dialogue, etc. If your listening comprehension itself is not improving to some noticeable degree after 10+ hours of L R Method you may either be doing L R Method wrong, or its just not useful for you.

To see considerable progress in language abilities, it may take 50-100 hours. Or even 100-300. The article linked above, the person who does L R Method (aYa) would usually do at least 30 hours, then 50-100 for a language - eventually also doing step 4 shadowing, step 5 translating back and forth. For less-closely related languages, people mention having done it for a few hundred hours. So do NOT expect total beginner to Fluent in 30 hours. I simply mean, you should expect noticeable progress after some X milestones. After a dozen or so hours you should be able to start recognizing word boundaries with ease, some short phrases. If you’re not a total-beginner, but beginner-intermediate like me, then you should start notice much BETTER listening comprehension of words you already half-knew from reading within a few dozen hours. Then after 30-50, maybe some dialogue understanding, some common words regularly understood, etc. Again - test yourself with Listening-Only every once in a while to see if you’re actually making any progress. Also to see if you wanna ‘alter’ the L R Method to suit your needs better. Maybe you’ll find a way to do it that works better for you.

For ABSOLUTE beginners, especially in languages very different from their own, at the beginning stages simply using sentences with audio may be easier. To perhaps learn a few hundred to thousand common words first - and/or using translations that are word BY word translation right under the target language word. To help with getting used to the grammar, all the new common words, the sounds etc. So materials like Assimil probably do this - Spoonfed Chinese anki deck with its audio/text does this, Nukemarine’s LLJ audio/text deck does this, Japanese Core 2k with its audio/text does this, etc. Clozemaster app might even be a nice beginner transition tool...

For the L R Method steps - really READ them and understand what they mean. Step 3 is NOT watching a target language audio movie with english subs. It is trying to comprehend all of the audio, glancing at the translation JUST to fill in the gaps for parts you can’t manage to comprehend (so for looking up words here and there). While you’re supposed to ‘follow along’ with the translation text, you do NOT tune out the audio. The audio should be your main focus, keeping in line with the translation text is so you can REFERENCE it when you hear a word/phrase/sentence you don’t fully comprehend. And I am guessing step 3 is suggested to be done multiple times so that each time you need the translation less.

L R Method works best with very vocabulary rich, long texts. If you use a simple text, or a short one (3 hours of audio for example), there’s only so much you’ll be able to learn from it. For example The Little Prince only has a vocabulary of 2000-3000 unique words, 1200ish hanzi in it - so even if you learned it entirely, repeating it over and over, that’s not a lot of info. Particularly if you don’t plan to repeat things, it’s probably going to serve your time better to pick rich vocabulary long texts (so you can pick up tons of words just through one pass through the book, and if you choose to repeat the book, pick up tons more words, before you start running into the rarely used words which will be harder to pick up).

I am mentioning all this, because I saw someone who did L R method for mandarin for hundreds of hours, and does not have natural listening yet - so cannot follow a new audiobook listening-only, cannot follow a show listening-only. Considering that people have demonstrated they made some progress in 5-10 hours for Mandarin, and 30 hours for Italian, then 300 hours in Mandarin might be able to make more progress. I’ve done maybe 20-30 hours of L R Method so far, and already find I can now listen to at Least the audiobook of the book I’m L R Method-ing now without the text, and follow the main scenes fine. With simpler audio, if I have a visual cue (like acting scenes, or pictures) I find I can follow the main idea much easier than I could before. So I just think... if you are seeing very little noticeable progress after 30-50 hours, the method may not be giving you benefits as quickly as you might want a study method to show improvements. I think if something isn’t giving you some improvement after X effort, you don’t need to stick with it if something else helps you more.

Other factors that may affect this:

I had some reading basis before I started L R Method. This might have helped me as far as how fast a rate L R Method is helping my progress. For an example: when I simply do step 2 ON ITS OWN I see improvements - because it helps me read through a chapter as fast as the audio, matches audio to the spelling I might already know, and I already can understand enough when reading at that speed to follow the general plot (so step 2 gives me context and increased plot understanding). Therefore, when I do step 3, I can really primarily put my attention on learning to recognize the SOUND of what I already understood - and on learning a few new keywords I already JUST saw and realized I didn’t know. Basically I can use L R Method to quickly pinpoint areas I’m weaker in, while practicing what I can already do. A total beginner won’t have the ‘practice what they already know’ benefit. (Genuinely though step 2 is helping my reading SO much and I know that’s in part due to my current reading comprehension level).

Also I have seen an example of someone who did L R Method while already B2 in Italian - he was aiming for C1. He noticed less drastic improvement after 40 hours - he did still notice some, like easier listening comprehension for shows and conversations. But he did not reach C1 listening/reading skills. So from this we see: L R Method might help you improve faster if you start off with more you still need to learn (which makes sense, since as the words you need to learn get rarer you will run into them less frequently in L R Method). Also, the gap from B2-C1 may be bigger than the gap from A1-B1? Also what I took from his example, is repeating step 3 multiple times becomes MORE important as you’re more intermediate-advanced. I would guess because you probably have less frequently occurring words/grammar to learn, so repeating content WITH those things in it is a way to get more exposure (whereas just going over it once then moving on is Not going to expose you to it much). Also step 3, if you really look away from the transcript for most of it, allows you to really practice listening comprehension. Also shadowing/translating, steps 4 and 5, may be of more benefit to an intermediate-advanced learner. Since shadowing may be doable for them now, and translation may be doable (and hone in on skills more). So... I would guess either the gap you have to bridge as an intermediate-advanced learner is bigger, and/or you just need to do more challenging aspects of L R Method to get similar frequency of benefits you would’ve saw at the beginning stages.

#l r method #listening reading method #rant #............................................................................................#basically just... its fun? i love it? its working great for me?#but if i had to wait 100 hours to see even a little improvement id think i was doing it wrong #or that it didnt help me #and if u try it. i think testing ur progress every 10-30 hours is a good #gauge to see if its helping you in any noticeable way

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takeshitakyuuto · 3 years

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hi any tips on learning a new language?

Hi! I'm not sure if you mean general tips or tips for starting so I'll go through my process from the beginning and I hope this helps in your personal language learning journey! I've tried learning many languages and failed many times but after that trial and error, I feel like I've finally found my footing in self study and have come a long way in learning Japanese.

Getting started:

In my opinion, starting to learn a language is the hardest part. What I like to do is get a general feel for the language by listening to it. Listen to songs in your target language, watch a show (even with subtitles- try to see if you can pick up any words from it), etc. Spotify top 50 playlists by country are really great for this step

Another resource that I've found I like to use is (just trust me) Reddit. I use the subreddit r/LearnJapanese, which has a section for where to start and people often share their progress and study methods there, along with asking questions. Warning, I've seen some pretty stupid takes on Reddit. Try not to take everything on their as the right way or use it as your only source of interacting with other learners (even if it's just watching others on YouTube)

Textbooks/Workbooks:

Unpopular opinion, I have never found a textbook that works for me. I know they're out there (people swear by Genki) but I've found that YouTube works just as well and is free. Additionally, based on who you use, you'll probably end up getting a more in depth explanation of the grammar concepts and how it's used culturally. Japanese has a proficiency test that most people use (JLPT) and lots of videos are sorted by their difficulty relating to that, so I would suggest finding out if your target language has something similar to make sure you're not learning advanced grammar before you know how to conjugate a verb. Of course, I'm not saying that you shouldn't use textbooks (make sure you do your research or find a free pdf before dropping tons of money), this is just what's worked for me (and it's free!)

Other materials:

I've got four notebooks for Japanese learning. This in itself is kind of extreme, but I use one for grammar notes, one for studying kanji, one for vocabulary that I pick up from readings, and one for miscellaneous work such as writing practice sentences for recent grammar concepts.

For flashcards, I use Quizlet because it's easy and free, but so many people use and love Anki because of its spaced repetition algorithm. I'm not sure if it's free on PC, but it's free on android and costs like $25 on iphones, which is why I don't use it lol

For some regular practice, I use Duolingo. While I don't recommend using this solely to learn a language, it is good for getting regular practice and becoming accustomed to the language

Pimsleur is a great site/app that focuses on listening and speaking and has tons of languages, however it is a paid subscription. It does a good job of teaching grammar intuitively too

Staying motivated:

This part was always hardest for me oops but I finally figured out what works for me. A little practice consistently will help you advance more than lots of practice sporadically so I feel like staying motivated is probably one of the most important aspects to learning a language

Music is probably my number one motivator. I have so many playlists in Japanese and sometimes you just hear a song that's so beautiful you need to know the language immediately.

Shows and movies are also great motivators. Even if you're watching with subtitles for your native language, you can still focus on the spoken language as well and what's better payoff than being able to understand an episode of a TV show or an entire movie?

Books are harder for beginners but if you can find comics in your target language, those are always lots of fun. Slice of life stories are generally easier to comprehend than other stories.

There are also sites where you can talk to natives through a language exchange. Searching up "[target language] language exchange" should do the trick. There are probably plenty of people who are native speakers of your target language looking to learn your native language.

Remember that in practicing something such as reading, your personal enjoyment is a higher priority than if something is the correct "level." Reading something that's above your level that you enjoy will be easier than something that you have no interest in that might be simpler in terms of grammar and vocabulary.

Speaking:

All this is fine, but if you're self studying, it's really hard to get actual practice speaking. You could pay for a tutor from sites such as iTalki, or join a discord dedicated to your target language, or you could just,,, talk to yourself. Yell at the tv in your target language. Narrate your day, make up fake scenarios. The possibilities are endless, but don't neglect speaking altogether.

This is already super long but I hope that something I wrote helps you on your language learning journey! If you can't tell I love talking about language learning so don't hold back with any questions! I'll answer to the best of my ability and as always it's a good idea to get multiple points of view.

#langblr #studyblr #language #thanks for asking i love you and i hope that you have the best luck in learning a new language!#im on my laptop so i cant use the japanese keyboard but #ganbatte!#anon #long post #remember this is my personal experience and what works for me might not work for you #but thats why you get multiple opinions

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blandacheadcanons · 4 years

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Let’s talk about AC: Odyssey

Overall, the game was a 7/10. I liked it, primarily because it’s shiny new content and because i get to play as a woman for the whole game (and Kassandra hnngggnng) but there were some issues which, for me, undercut the emotion of the whole thing, especially the ending.

spoilers and bitching below, proceed at your own risk

An ADHD dream and nightmare

in general, the way i played Black Flag, Origins, and Odyssey was tantamount to “Okay, gotta go to - squirrel!”

Now, that problem (not really much of a problem but y’know) starts with me. I have ADHD, so I’m already prone to being unfocused in my game play. But it doesn’t help that the map is littered with side missions, collectibles, and shiny things.

That, on it’s own, is not much of an issue. So it’s a bloated game; that just means there’s more to love. and I do love this game. however, the overwhelming amount of side missions and the fact that you’re practically required to play them in order to level up enough, means that the game loses its focus.

in Black Flag, this was somewhat remedied by the fact you’re never really under-leveled, so much as under-prepared. In Origins, it was offset by the intensely emotional story and clear motivations. In Odyssey, neither of those things were present.

Breaking the game

Throughout its life as a series, Assassin’s Creed has done something few other games have done: justified the fact that it’s a video game. We, the player, play as Desmond/Layla/whomever, who is playing through the memories of the historical character. The Animus can essentially take a puzzle and build the edges and group the pieces by color, but it still needs a human to put the pieces in place. the puzzle - the memory - itself cannot be changed.

Now, in Odyssey, there is no more justification. Yes, I’m talking about the choice mechanic.

This aspect of the game just... breaks everything we know about the series. the way the animus works. the way we play the game. the lore went from decently put together to flat out incoherent.

I love Kassandra. and I love that she’s the canon character. but if female leads for some reason come at the cost of consistent story-telling, i’ll take the consistent lore.

Way too big

traveling takes for-fucking-ever. Look, Ubisoft, I know people loved the naval portions of your games. but that’s not an excuse to make everything fucking HUGE and spread out over a dozen islands. If you must have such a huge game, give us fast travel to an island right away. restrict it however else you like, but for FUCKS SAKE.

Clash of the Titans (and the original premise for this series)

from AC1 to AC: Black Flag, each game has been defined by its historical setting. It was the Crusade Game, the Renaissance Game, the Victorian Game...

Origins began to lay the framework for a more mythology-based portion of the series.

Well, Origins walked so that Odyssey could fly by it on a motorcycle. Throughout the game, i wasn’t about the historical figures i would meet. I was wondering where and how the mythology would be making an appearance.

On its own, this is not a bad thing. It also makes sense, given that Ubisoft seems to be shifting to the Isu for plot in the wake of Juno’s death.

It is, however, still rather jarring. It also doesn’t look like we’ll be getting more of the historical thing because AC: Ragnorak is looking like the next game.

I love mythology as much as the next person, but...I don’t even know what to say.

The Ending

the aforementioned lack of focus and emotional intensity led to a...lackluster ending. I went for the best ending where Kassandra saves Alexios and the family is reunited.

Alexios’s heel-face turn seemed so sudden. Like he’s furious up until he touches Leonidas’s spear, and he suddenly sees the light? I’m not saying that it can’t happen, but in a game brimming with mythology and magic, this was the thing that strained my suspension of disbelief.

And this was right after Kleon shot him in the back, too. but is it ever brought up? is his faith in the cult shaken by the fact that one of his “family” just tried to kill him? does Kassandra use it as evidence that the cult is using him?

nope. not once. not even a little bit.

And these are just some nitpicks, but for me, both Alexios’s subpar voice acting and Kassandra’s quiver disappearing (idk if that was a common thing or just my game) undercut the emotion of the scene.

cutscenes are not the time for errors like this, people!

too short

As much as I complain about a bloated game, the main storyline was way too short. If you play only the main story line, you’ll probably have uncovered about half the map. maybe less. Why do i care about the map? I don’t. But i do care about an underdeveloped story.

Maybe there was more plot that ended up on the cutting room floor, but ultimately, it doesn’t matter whether the game was slashed to ribbons or wasn’t there in the first place. We got a game that was too short.

The lack of length also exacerbates the tone problem. Had we had a longer story with more Deimos/PC interaction where cracks appear in Deimos’s armor, and he maybe even does something uncharacteristically charitable (out of more than pure shock), i could then buy his behavior on Taygetos as a last-ditch effort to maintain his self image in the face of his shifting world view.

If we’d had cutscenes like Syndicate where we could see a few moments from Alexios’s perspective, I could understand how that world view shifts and how the cult treats him.

but instead, we get an exponential graph of Alexios’s development. and it’s a damn shame.

Loss of Identity

for every AC game, there’s a million video essays laying out the problems with it. And in every one of those essays, there’s a line to the effect of “this game doesn’t feel like an Assassin’s Creed game.”

Previously, i was always of the school of thought that were was no “feel” of an AC game. the nature of the games is to change, in big ways and small ways, between games. The more things change, the more they stay the same.

But now, if you had me play this game and then AC1 and told me they were in the same series, i would never fucking believe you. The already thin common threads between games has been completely broken, even more so by going back in time. Origins had a similar problem, but it at least referenced the rest of the series with the hidden blade and the establishment of the Assassin Order. the only things “Assassin’s Creed” about Odyssey are the Isu and the title.

Other Nitpicks

Layla does not get out of the Animus nearly enough. I know most people hate the modern day line, but i like the break from all the historical action.

not calling Deimos Alexios/Kassandra in the subtitles. I know it was probably easier on the devs but just imagine the feels if the name changed when Deimos was being more vulnerable/letting his compassion show.

Kassandra can full-on see Atlantis and a Sphinx and still be amazed by every mythological creature that crosses her path.

people move way too much in dialogue cutscenes

animation and cgi are becoming so real that it’s creepy again

i appreciate the move to Actual Eagle’s Vision, but leave it in these games. I don’t want to get to the middle ages and be seeing out of a raven within a century of Atair’s Color Coding Eagle Vision. That’s not how evolution works.

While cool, the introduction of literally magical armor and weapons further proves that this isn’t a historical series anymore.

There is barely a stealth mechanic in this game, and when it’s used, it’s just used to pick people off before we’re noticed, not to avoid being noticed.

in a world where there are mercenaries and those mercenaries have to kill each other either for money or just to move up in rankings, mercenaries killing each other should not be illegal. if i try to fight one more mercenary and end up getting killed by the swarm of soldiers that just pony up out of no where, i swear to God...

why are soldiers acting as cops anyway doesn’t Athens have real, actual cops or equivalent

I think Ubisoft finally remembered they were rated M in Origins and Odyssey but it honestly just makes it harder to play around my parents

That’s as much as i can think of off the top of my head if i can think of more i’ll add it

#ac odyssey #kassandra #alexios #rant #deimos

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biscuitreviews · 4 years

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Biscuit Reviews The Last of Us Part 2 (SPOILERS)

When it comes to sequels, it can be either better or worse than the original. With Naughty Dog games, at least in my experience, their sequels have always been better than the original. Jak 2 and Uncharted 2 proved that. I can’t speak for Crash 2, because I never played it, but from what I’ve seen from the internet and many reviewers, even that was better than the original. With The Last of Us Part 2, that was what I was going into, a sequel that was sure to be better considering Naughty Dog’s pedigree with this.

In some ways, they actually do succeed in The Last of Us Part 2 being better than the original. However, there’s also some areas where it failed.

Now, I can’t talk about The Last of Us Part 2 without mentioning a big spoiler, because this spoiler is the motivating cause for the story. I’m actually going to discuss that last. Normally in my reviews, I discuss the story first and then go into gameplay. But to allow you, the reader, to view my opinions while being able to avoid the spoilers, I’ll be talking about the story last this go around. I’ll also mark within the review when I’m going to start talking about the story to give you a chance to stop and scroll to the bottom of the review, or to simply come back to this review later.

In terms of gameplay, it is leagues better than the first entry. Enemies are varied, encounters have multiple ways to go about completing them, and there are plenty of tools at your disposal. The enemy variation was my favorite as you have the infected and their different subclasses: Runners which are run-of-the-mill infected, Clickers which are now nerfed to where guns are effective. Shamblers, one of the new variants, sprays a noxious gas and are heavy hitters. Stalkers, another new class are stealth based infected that make no noise and tend to hide and only fight if they’re spotted.

Human enemies are also varied depending on faction. The WLF are your standard human faction. They communicate with their teammates and are easy to keep track with listening mode. The Seraphites, the other faction, when it comes to using listening mode it’s practically useless. They’re quiet, communicate with whistles and are more likely to use weapons that don’t make a lot of noise. Either way both factions are very communicative to one another and will often coordinate with their team members to track you down during encounters.

You’ll have to use your weapons, your tools, and the environment to get past these encounters. Weapons are used for the obvious, defeating enemies. Tools allow you to cause distractions or set traps, which will help you cull enemy numbers. The environment is what you’ll use for the stealth approach and even run away from enemies if they prove to be too much to handle.

There is a computer controlled companion like in the first game, but they don’t really do much. When Ellie didn’t do much in the first game, it made sense because Joel’s mission was to get Ellie to a Firefly hospital; you didn’t expect Ellie to do anything. You expected her to stay hidden and out of the way. When Ellie would kill someone, it was a nice surprise, but at the same time you hoped she didn’t do that again because you didn’t know if the game would start going after Ellie. In Last of Us Part 2, there is no excuse for the computer controlled companion to not really do much. Sure they’ll kill someone on occasion, but it’s usually when there’s only one enemy left which makes having a companion questionable. You would hope that maybe they would do some distraction techniques, but all they do is remain hidden and not do much, similar to Ellie in the first game and it just makes no sense in the sequel for your companion to do that.

Encounters could also, but not often, have a mix of factions. For example, using distractions to lead the infected into human enemies feels extremely satisfying and rewarding. This will lead to the humans and infected fighting each other with you either slipping away, or using the chaos to your advantage to continue killing enemies.

Exploring the environment is strongly encouraged as there are items that can improve your character’s abilities, weapons, and items to craft tools that are needed. Exploration is also how’ll you find your weapons as not a lot of them are actually on the beaten path. You’ll find a couple along the way, sure, but there are also quite a few where you do have to go down the other fork or not the correct way forward to find these other weapons. This encourages you to fully explore the area before moving on because you might find a weapon that will greatly help in the next encounter. You can craft ammo for certain weapons, which is great when finding ammo for other weapons is proving to be lacking. I played the game on the Moderate difficulty and there were times where I was hurting on ammo and had to resort to more distraction tactics.

Speaking of difficulty, I love how customizable it is. You have presets: Very Light, Light, Moderate, Hard, and Survivor. The option to choose a difficulty preset is there, or you can go further and customize certain aspects. You can customize how hard enemies are to kill, how much ammo and supplies you can find, how hard or easy it is for enemies to see you in tall grass. How easy or hard it is for enemies to fall for distraction techniques. I have to say this is a really great way to go more in depth with difficulty and I hope this is something we start to see more and more of. I know Persona 4 for PC also had something similar and I hope to check that out at a later time.

Another thing I have to mention is the level of accessibility that is available. You can make HUD menu icons bigger, adjust the size of the subtitles, change colors for easier reading, and there are color blind settings for people that have color blind conditions. For those that might be hard of hearing there are options to have the game show more visual cues. I’m hoping this also starts to set a standard for accessibility options within video games to allow people to customize the experience for them.

Visually this game looks stunning. The first Last of Us came out at the end of the PS3’s lifecycle and it looked amazing and well detailed. With the Last of Us 2 also coming out at the end of the PS4’s lifecycle, it also does not disappoint and has some really stunning views and landscape shots where you can just sit back and take it all in.

When you complete the game, New Game+ is unlocked that allows you carry over all items and upgrades. You also have the ability to select chapters you wish to replay and even individual encounters if you just want to get straight into the action.

Now what about the story itself. As I mentioned previously, I can’t talk about the story without giving a big spoiler. If you’ve been reading this review and don’t want said spoiler, this is your chance to stop reading and either scroll to the very end or come back when you’ve either hit the big spoiler or just don’t care. I will say this, you won’t be far off on the spoiler as it happens 2 hours into the game.

Yeah, it happened that quickly.

The Last of Us 2 goes for a dual narrative way of telling its story. You follow Ellie and a new character named Abby. However, instead of having two different stories affect one another, you are actually viewing what each character is going through before the inevitable crossover.

You start the game as Ellie seeking revenge on Abby for killing Joel. Why did Abby kill Joel, well who cares, just go after her, how dare she kill Joel. This is where a majority of the hate of The Last of Us Part 2 comes in, because a character you know nothing about, suddenly comes in and kills a character that we spent quite a bit of time with in the previous game. It also doesn’t help that for a decent part of Ellie’s story, that’s the premise you’re given, that Abby is just a random person in a faction that was never before seen until now. You do learn later that there actually is a connection from the first game with Abby and why she killed Joel, but by the time you learn that, you as a player viewing this story, don’t care because you spent quite a bit of the game hating this character and just wanting her dead.

As for Abby’s story, she wants to help her friend Owen escape Seattle after he killed his teammate and saved a member of the Seraphites, the WLF’s enemy. She in turn helps out two kids escaping from the Seraphites and the WLF then considers Abby an enemy for going AWOL and a traitor for helping out Owen and two Seraphites.

Now as for the story itself, it’s highly predictable in the worst ways using tired post-apocalyptic tropes. No joke, my wife actually predicted everything beat by beat within the first two hours of how the story was going to play out after Joel did. She was correct in every aspect. However, despite being predictable it’s not terrible either like the internet would have you believe. What really hurts The Last of Us Part 2’s story is the order in which it decided to tell it. I feel it should have told Abby’s story first, that way we could have gotten to know her as a character, rather than just default hate her the entire time. As for the references of killing Joel, instead of saying Joel outright, make it ambiguous, give it a little mystery, wonder who was it that she killed that has her friends a little bit concerned for her state of mind and actions during that time while slowly revealing the identity of who she killed.

I get that the theme for this story is hate, but I felt it would have really drove that theme harder if Abby’s story was first, that way you can understand her hate. I still think as a player, you would have ended up hating Abby regardless, but I feel that it wouldn’t have been as volatile if Naughty Dog went this route. Also, the fact that there are quite a few things in the story you have to tear apart and place in the proper order of events is a bit draining. Multiple narratives and flashback sequences can work, but in the way these were presented, it took effort to piece the overall narrative together.

Then by telling Ellie’s story second, you can further drive the point that hate breeds hate and to end the cycle, it has to be you that ends it for if you continue it, the cycle will never end.

I also hated that it left Ellie and Dina’s relationship “up to interpretation” at the end of the game. No, we have a nice gay relationship in this game, give Ellie a happy ending at the very least of all this.

The Last of Us Part 2, I’ll admit is a bit of a tough game for me to score. As a game, it succeeds in so much and then some. But as a story, it has quite a few stumbles. However, putting the Abby prejudice aside, it’s an ok story, definitely not as jaw dropping or emotional as the first, but it’s still serviceable despite its issues.

I never give games a .5 in my score because I feel it can be too wishy washy. I feel giving it a 3 is too low considering how the gameplay is so good and how you can approach encounters and even customize your experience. However, giving it a 4 could be considered too high as Naughty Dog is known for good gameplay and great stories and The Last of Us Part 2’s story was just “ok”.

However, after some back and forth, I think I’m going to give The Last of Us Part 2 the higher number because I want to recognize the amount of accessibility options it provides. Not a lot of games consider this or even have this option and I want to commend this one for considering that. I think if the story was the train wreck that the internet would have you believe, maybe I would give it the lower number, but in reality, it’s really not THAT bad, but it definitely does hold it back from being great. This is definitely a game I might be going back and forth with for a while, but for now at this moment, I think a 4 is fair, it’s still a great game, but it definitely has a sore spot that keeps it from reaching a 5 out of 5.

If you were to say “No Biscuit, this definitely deserves a 3” or “No it’s lower than that.” I wouldn’t blame you for thinking that. But looking at how much fun I had with the game aspect and seeing just how customizable the experience is, that’s why I’m leaning higher. You as a gamer have every right to hold on to that prejudice towards Abby. There are those that can’t get past that and I fully understand, I was that way for the majority of my playthrough. As a reviewer though, I felt that I had take a step back and view the story as is without prejudice and I see an “ok” story. Definitely not the Naughty Dog standard one might expect, but not as terrible as the internet makes it out to be.

The Last of Us Part 2 receives a 4 out of 5.

#The Last of Us Part 2 #TLOU2 #PS4 #Naughty Dog #Ellie #Abby #WLF #Scars #Seraphites #Biscuit Reviews #game review #video game review #Last of Us 2 Review

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dvp95 · 5 years

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quiet on widow’s peak (1)

pairing: dan howell/phil lester, pj liguori/sophie newton/chris kendall rating: teen & up tags: paranormal investigator, youtuber phil lester, dan howell is not a youtuber, online friendship, slow burn, strangers to lovers, nonbinary character, background poly, phil does some buzzfeed unsolved shit and dan is a fan word count: 3.2k (this chapter & total) summary: Phil's got a list of paranormal experiences a mile long that he likes to share with the world. Abandoned buildings, cemeteries, and ghost stories have always called his name, and a particular fan of his has a really, really good ghost story. Bingo squares: met on tumblr

new wip? NEW WIP.

read this chapter on ao3 or here!

The wind is loud in this one. That's frustrating, and it makes Phil's job a lot harder, but he can't control the weather. Be cool if he could. He does his best to level out his voice and the background noise of Mother Nature before he settles in with his good headphones and really cranks the volume.

It's even more annoying to listen to the alternating crackle and whistle right in his ears. Phil has dealt with worse during this whole process, though, so he finds the strength to power through it. He listens to the full thing three times, scribbling a few timestamps down on a Post-It pad as he does. He takes a break after that, does some stretches around his tiny bedroom and tiptoes out to get a snack without waking the whole damn house, and then he's right back in his apparently ergonomic office chair to subject his ears to more of this nonsense.

Wind, wind, and more wind. And sometimes just Phil's own voice. Nothing of note.

Phil is about to give this video up as a loss altogether when he hits one of the final timestamps and... can't figure out what that noise is.

For the first time since he opened this file, Phil grins. He exports the clip and plays around with it in Audacity. Some videos are always more fun than others, and Phil had felt like he was slogging through this one until now.

"Do you hear that, Theodore?" Phil murmurs. The tiny cactus on his desk, thankfully, does not respond.

It sounds like a person. It sounds like a person, whispering, and it definitely isn't the wind, and it isn't Phil's own voice, because he's in the middle of a question in this clip.

Phil might just be going crazy from sleep deprivation or wishful thinking, though. He pulls out his phone and texts the only group chat that doesn't cause him anxiety, which is comprised of the housemates that he actually gets along with. Anyone up? he asks, adding a single eye emoji for good measure.

Even though it's gone two in the morning, he gets immediate responses from all of them. A string of vaguely dirty emojis from Chris, a simple yeah from Sophie, and a cheerfully morbid did you know that insomnia leads to an early death? from PJ.

Wanna listen to a noise for me?

Within three minutes, Phil's bedroom is full of people in various states of sleepiness. All of them are in ridiculous pyjamas - including Phil - and PJ's hair in particular has taken on a mind of its own. Phil's room isn't really big enough for all of them, so there's some awkward shuffling before PJ claims the office chair. Phil sits at the foot of his bed with Sophie and Chris on either side of him, pressed close against each other's shoulders. It's a good thing he likes these people.

"I mean, it isn't the wind," is PJ's confident opinion. "Did you have anyone with you?"

"No, it's just me and my camera against the world," says Phil.

"No need to be a twat," Chris informs him. He taps at PJ's upper arm, impatient. "Let me have a go, then, if there's something there."

Chris is famously bad at hearing things in white noise, but PJ acquiesces the seat easily enough. Phil laughs, watching them do a weird step dance around each other in the small space between Phil's bed and desk.

"I can't hear any specific words," PJ says as he flops down across Phil's pillows, making himself comfortable. Phil just nods, because neither can he.

"How d'you know it's a person, then?" Sophie asks. Her voice is probably the only one soft enough for the hour. Their other housemates hate them for their frequent all-nighters, but Sophie is kind and quiet enough that she slips under the radar.

"You'll see for yourself."

When Sophie goes to respond, Chris interrupts in a hilariously loud voice, as if he's forgotten that having headphones on doesn't mean they can't hear him. "It's some kind of ghoulie or ghostie! I can barely fucking hear it, Philly, why didn't you mic it?"

"Why didn't I mic the ghost?" Phil asks, bewildered. Naturally, Chris doesn't hear him.

Sophie taps Chris on the shoulder and stands, leaning over his shoulder as she takes her turn listening to the sound clip over and over. Chris spins in the chair a few times and gives Phil an unhinged sort of grin.

"You got something this time," says Chris. He sounds like he's having just as much fun as Phil is, now that there's actually a thing to listen to besides his own voice and the loud, loud wind.

"I think so," says Phil. "Why didn't I mic the ghost?"

"I'm saying it would make your job a lot easier if you mic the ghost, yes."

"If I could mic a ghost, I'd be a millionaire."

"Then you better get on it, eh?" Chris laughs, spinning a bit faster. Phil has never seen the man sleep. It's a little bit worrying.

"Sure," Phil says, giving up on trying to teach any logic to someone who's clearly long lost their hold on it. "Next time I spend all night in a graveyard, I'll mic any spirits that might be hanging out."

"Shut up," Sophie tells them, mild.

Chris mimes zipping his lips, wrapping an easy arm around her waist, and PJ laughs.

For the first few months they all lived together, Phil had struggled to keep up with whatever dynamics were going on between the three of them, but he's long since given it up as something he's not going to understand.

After a moment of quiet, Sophie nods. "I hear it," she tells them. Even with the headphones on, she's quiet. "It's not words, I wouldn't put any subtitles over it."

"Yeah," PJ agrees. "Just let your audience duke it out in the comments like they always do."

"Thanks, guys," Phil says, feeling a sort of warmth sink into his shoulders. He notices that Chris is pulling up another application and half-heartedly protests. "Chris, you don't need to edit this one for me. I still haven't paid you for the last video." Or the one before that. Or the three or four previous. Phil has it written down somewhere.

"Don't be stupid," Chris hums, already clicking around erratically. It makes the editor in Phil want to scream, but he has to admit that Chris manages to find more weird visual stuff to isolate than he could on his own.

"I feel bad," says Phil, chewing his lip.

"I've told you," says Chris, "you can pay me back in chores and sexual favours."

PJ's slippered foot knocks against Phil's hip, and he grins brightly when Phil turns to him. "You know, I do have a bit of a laundry backlog."

"Funny thing, that," says Sophie.

Biting back a laugh, Phil shakes his head. "Alright, alright. Everybody leave their laundry in front of my door tomorrow."

"That's a no on the beej, then?" Chris asks, raising a single eyebrow and pointing dramatically at Phil. It has been near two years of this, and Phil is still too afraid to ask if it's a joke.

It's not as if Phil's answer would change if it wasn't a joke, because he's not interested in Chris, and he's especially not interested in becoming entangled in whatever nonsense his housemates have gotten themselves into. But, still, he might be kinder about letting Chris down if he were being genuine.

"That is a no," Phil confirms. "But I will wash your pants."

"Kinky," says Chris. He turns back to the screen and makes an incomprehensible hand gesture. "This is pretty shit. You know that, right?"

Yeah. Phil does know that. It's getting harder and harder to have the same optimism in every video that he'd had when he first started recording his wanderings around the supposedly-haunted places of Rossendale. He'd brought the camera with him when he left, but might have left that optimism behind. Phil only kind of believes in supernatural things - the way he only kind of believes in giraffes or true love - but it's been more fun than anything else to pick up a camera and try to find some evidence.

He's been doing this since he was nineteen, though, and he's getting a little bored by the formula of it all. Go into a haunted place, try to communicate with the spirits, pick up some garbled words or creepy noises, highlight visual oddities like orbs, and let the internet tear it all to shreds. Honestly, he'd have more fun making proper horror at this point in his life.

Phil shrugs and pulls his knees up to his chest. He wants to hide away from the sympathy in Sophie's eyes, from Chris' blunt words. "Yeah. I'm getting kind of... I don't know. Restless."

"Maybe you should ask people to submit things again," PJ suggests. "That went well last time."

It had, actually. Phil had needed to sort through a lot more ridiculous stories and obvious hoaxes than usual, but he'd found some nuggets of gold in all that hay. Or however that saying goes.

"People did like having their stories read out," Phil says slowly. "I'd just need to be extra sure that nobody's, like..."

"Ripping off r/NoSleep," says PJ.

"Yeah, exactly."

"We can help," Sophie says, and Phil could cry at how easily PJ and Chris agree with her.

He really doesn't deserve to have such great people around him. They've got work and lives of their own, but they're always happy to spend time crowded around Phil's computer listening to weird noises together. Phil sometimes wonders what they get out of it. Do they just like helping him, the way he has fun holding the boom for PJ's films or testing Sophie's concoctions? Or are they just as fascinated as Phil by the weirdness of it all? Do they want to see the cool instances of paranormal activity, too? At this point it feels nearly impossible to ask.

"That's going to be a lot of washing pants for me," Phil sighs. He doesn't know how to thank them, not when they always just wave it off.

"Sure is," says PJ. "But you should... ask the audience!"

"Your Chris Tarrant is pretty good," says Phil, only a little surprised by it. PJ's voice is as much of a tool to him as the rest of his body, and it's one he's always been skilled with. The impressions still tend to catch Phil off guard sometimes.

PJ tips an invisible hat. "Thank you, thank you, I'll be here all week."

At his friends' not so gentle encouragement, Phil makes a few posts on his socials to ask his followers for new creepy things to explore. It might be the middle of the night in Brighton, but he has a feeling that Chris isn't leaving his desk until he's found every instance of an orb or strange shadow in the fifty minutes of currently uncut footage.

It seems like Sophie is on the same page, because she excuses herself to make tea for everyone. PJ leans over Chris' shoulder and watches the clips without sound, his lips moving as if he's murmuring to himself.

Sometimes this feels more like a group effort than Phil is comfortable with. He's never been very good at asking for help. As grateful as he is, he still itches with the need to take back control of the situation. He uses the slow trickle of fan submissions to distract him from that feeling, because all three of them do make his videos better when he stops being so possessive over his footage. Phil flops onto his back and scrolls through the incoming emails, tweets, and Tumblr messages to see if there's anything promising.

For the most part, the answer is a resounding no. Some things are blatant lies - there are countless ripoffs of films or novels that Phil happens to be familiar with, a few things swiped from creepypasta or subreddits, and his usual amount of conspiracy theorist fans insisting that some high profile person or other is a lizard - but most of it, to Phil's dismay, just doesn't grab his attention the way he wants it to.

Sophie comes back with tea and snacks. She leans her head against Phil's shoulder and watches him cycle through his apps, fact-checking idly and sighing every time something easily proves to be a hoax. Her hair smells like coconut and she makes a soft humming noise every time she lifts the mug to her lips. Her presence alone, small and warm and supportive, is enough to keep Phil from throwing his phone across the room and having a right sulk about how his career is in a tailspin because nobody makes ghosts like they used to. At some point in the night, Sophie's breathing evens out to the point that Phil thinks she's asleep, but then she reaches out to tap a tiny finger to his screen.

"What's this, then?" she murmurs.

Phil has been zoned out entirely for at least fifteen, and he blinks back into reality. There's a new message in his Tumblr inbox, one that seems like it must be over the character limit for asks. He must have submissions turned on or something, that's the only possible explanation for an actual essay being sent to him. It's barely broken into paragraphs with very little punctuation and no capitalization, and Phil has been staring at screens for far too long to try and parse this on his own.

"Can you please make sure this isn't, like, the entire Bee Movie," Phil asks, handing Sophie his phone with only a slight twinge of anxiety. He trusts her not to go snooping, but. Still. "I need to pee."

"Mhm," Sophie hums, already apparently lost in whatever stream-of-consciousness has been dropped into Phil's inbox.

The floorboards in this old Brighton house creak, and Phil has always envied some of his housemates for being able to sidestep the noises. It doesn't seem to matter how long he lives here, how much he tries to avoid making any noise, it's like the floorboards are determined to creak under Phil's weight. He winces as he passes two bedrooms whose occupants surely don't appreciate creaking outside their doors at such an ungodly hour.

At least he doesn't run into any walls this time. The nightlight in the bathroom at the end of the hall is the only thing lighting Phil's way, and he tends to stub his toes on absolutely nothing in this kind of semi-darkness.

When he makes his - very, very creaky - way back to his own room, he's bewildered by the scene that greets him. PJ and Chris have joined Sophie on his bed, and all three of them are poring over Phil's phone as though they're looking at a map to the Holy Grail.

"Hello," Phil says slowly, closing the door behind him. It creaks, too. "You aren't going through my pictures, are you?"

"No," Sophie and PJ chorus without looking up.

"You got nudes on here or something?" Chris asks with a mild sort of interest, clearly also too engaged in Phil's phone to put his all into the flirting.

"I don't," says Phil. It doesn't sound convincing, even though it's true, and he waits for Chris to tease him about it some more. When he doesn't, Phil has to admit that he's curious. "So I guess it isn't a meme or something?"

That makes them look up, in almost comedic synchronicity. Sophie blinks a few times, as if she's coming back to herself. She holds out Phil's phone and shakes her head.

"It's not a meme," she says. "And near as we can tell, it's genuine."

Phil joins them and takes his phone back, adjusting his glasses. His bed really wasn't made for four people, but his housemates have never had any personal space amongst themselves, and Phil isn't one to say no to human contact when he isn't getting it anywhere else.

The message is just as hard to read as it was at first glance, but Phil puts his brain to work. If his friends are reacting like this, it usually means he's in for something good.

hi ok so the thing is that this is completely ridiculous and i dont think its what youre looking for at all but theres a building near my uni thats got a ton of stories around it and it only started happening like this year like it isnt an old obviously haunted type of place but theres a lot of weird shit that goes down there so i found all the references to it online that i could and ive summarized them here (w/ sources ofc im not a dick) and its all just this side of strange so it seems like the sort of thing you might be interested in ok here we go SO

And it goes on like that. Phil feels his eyebrows raising as he clicks the provided links in the following walls of text, which are exactly what they're advertised as. Not a single rickroll in there. Just a handful of posts on Reddit and Facebook and independent blogs about various experiences people have had with a particular abandoned building in -

"I know this place," Phil says, surprised. He looks up at PJ's grin, Sophie's wide eyes, Chris' palms rubbing together in exaggerated interest. "I've been to parties here. Well, okay," he corrects himself before his friends can do it for him, "I've gone with Martyn to parties here and left early."

"Yeah, it isn't far out of Manchester," PJ hums. He bounces in place a bit, like he's suddenly energized enough to go jump on the soonest train up north.

"It didn't seem that weird," says Phil. "It's been a few years, I guess, but it wasn't even that scary."

"Sounds like it's only just started, though," Chris pipes up.

Phil isn't sure how much he likes that. The idea of a place he's been a few times, half an hour from his childhood home, being so suddenly full of haunted activity feels... weird. Still, it's catching his interest in a way that nothing else has in months, so.

"I'll look into it some more tomorrow," he decides, glancing at the time. His brother is probably still awake, to be honest, but Phil doesn't want to be that guy asking 'hey, do you remember the Wilkins place?' before dawn has even broken. Again. He has definitely done that sort of thing in the past. "I'll have plenty of time while I do, what, seventeen loads of laundry?"

"Something like that," PJ laughs. "Want us to clear out?"

As nice as the company and help has been, Phil still feels a rush of relief at the concept of being left alone again. He nods, still scrolling idly through the Wilkins place submission.

It hits him, very literally, too close to home to ignore. He wonders if his fan knows that, if this is somehow an elaborate prank that will end up just wasting Phil's time, but he's too curious to leave it alone. He'll just have to ask around, see if anyone else has heard these murmurings.

Til then, maybe he ought to try and get some sleep. Phil's computer, still open on the editing software, tempts him.

Well. What's another couple hours at this point?

#phanfic #phanfiction #dnp fic #words words words #qowp..... mayhaps i made a mistake w this title......#quiet on widow's peak #YES it's another marianas title what are you the marianas title police?#bingo

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alltingfinns · 4 years

Text

A Scandal in Belgravia

So I’m back on this.

The swoosh on some sped up footage in the previously, don’t remember noticing that.

This episode’s start gets so much funnier if you read some of the fic written between this and the previous episode.

Silly song now becomes more dramatic in TRF.

What did Irene offer Jim to get him so riled up? If it’s the plot plane plan that would explain why Sherlock is needed alive. But his emotional reaction... maybe he’s already been trying to get it on his own. Indicates possibly that Jim has been looking for a way to get to Mycroft.

“You’re typing a lot.”

This montage is nicely done.

Arguing about the blog.

The pouncing on the title.

He’s so hurt. He knows ash!

“We do watch the news.”

“You said boring and switched the channel.”

First time where “people” = John.

And the hat.

“It’s time.” I never thought about the waiting period.

Ehh, Hudson called up to the next floor so John’s room? Boys?

Ha cool, a SAAB. An old one too. I’d guess a 900 model from the early nineties.

Lestrade probably makes these calls a lot.

I get Sherlock’s confusion, he’s just in a sheet it’d make sense for him to be humiliated.

Their silent conversation + John’s acceptance of the absurdity.

That was a pretty long look on Sherlock’s lap and then asking about pants.

The Swedish subtitles on Netflix just referred to John as ”kronans gosse” I love it!

John took the queen liking his blog as a point in their argument.

I always like looking at John during the sheet bit.

Mycroft and John conversing in subtext that you need to remember their original conversation from a whole series/three episodes ago. And people think johnlock is too subtextual.

They made “the woman” a work title clearly to explain why Sherlock would refer to her that way. A bit harder to work in the context from ACD canon. It would be weird if Sherlock in modern times went “a credit to your gender” for defeating him.

Sherlock’s reaction Mycroft’s veiled assertion settles the question, I think. He’s making a “damn, he’s got me there” face. Mainly because John’s presence, if we considers his previous statement. If it were just him and Mycroft he’d just say “just because I haven’t done it doesn’t mean I can’t understand it!”

Btw, in case you think my typing speed is phenomenal I am hitting pause when something gets really interesting to me.

The parallel of checking the pictures have the “obvious” reading of romantic set up. But Sherlock is still learning details of a case he has been given so another reading is that while he’s targeting her she’s targeting him.

My reading is backed up by Sherlock’s immediate demeanor. His interest in her didn’t really appear until he found out she didn’t ask for anything. Blackmailers are a dime a dozen, but someone making a point of threat against the reputation of the BRF without asking for direct compensation? That’s someone with a plan and someone who can give him the kick he feeds of from casework.

John getting the last word in only for Sherlock to get the laterer word in.

Pinching an ashtray from the aforementioned BRF, whom himself mentioned as his first client with a navy, just to make John laugh? Some things are priceless but for everything else there’s MasterCard.

Okay, I had to back up a bit but: I don’t know who’s getting these pictures for Irene, but the last one that makes her smile is focused on John. She sees Sherlock more naked in the pictures where he’s fully clothed in the back of a cab than when he was in just a sheet on the pavement.

More parallels. This is really about their similarities. Could still be considered romantic foreshadowing “they’re made of the same cloth” type.

Ah yes, punch me.

That little dialogue snippet about “punch me” usually being subtext is what got me to first watch this show.

In general I have a lot of issues with how they handled Irene. But I especially don’t think I get the nudity in this scene. It reveals to Sherlock immediately that his ruse was all in vain since she either a) knew he was coming anyway or b) usually greet priests in distress while stark naked and might therefor just be stark raving.

Unflappable John Watson. Oh dear, my flat mate who I just beat up is sitting in front of a naked dominatrix with his vicar collar between her teeth. “I’ve missed something, haven’t I?”

He doesn’t like being a third wheel either. “I had tea too! Just so you know. In case you thought Sherlock got tea at the palace by himself. I was there too. The tea was lovely. Just the right temperature.”

Dammit.

Now I want tea.

Wait wait wait! When did John put his “date” shoes on? Only time it makes sense is when Sherlock was looking through his disguises. (He definitively wouldn’t wear them to traipse around the muddy crime scene.) Maybe they’re part of his “battle uniform”? Also obviously Sherlock can only “deduce” date because he knows what shoes John wears on dates. This isn’t really clothed people are easier to deduce.

How is he not deducing the heck out of her make up and ear piercing? Is it because she’s acting so extraordinary that her indicators become harder to contextualise?

Or is that whole thing just a plot hole?

And her comes her actual opening chess move. Nudity and banter was just setting up the pieces.

“Somebody loves you.” She pressed John’s big red “DO NOT PRESS” button right away. Later she says Jim told her how to play the Holmes brothers, but he definitively gave some pointers on John as well.

There’s something about John’s facial movements when Irene says he knows exactly where to look. Hard to compare with the sheet scene because of the different angles. But yeah, John is bi.

“You do borrow my laptop” with such an angry glare.

Wait are Irene’s shoes those shoes that are expensive because they’re red on the bottom? (I do not care enough to google their names.)

And it’s when John starts to smile that Sherlock does his verbal keysmash. Officially Ben said it was because Irene was paying attention to John instead of him, but she does that a number of times previously and has had quite a moment of getting cosy at John. But up until then John has been a bit standoffish. Of course you can only take so much of a pretty lady flirting with you before your smile reflex gets activated. Also he whips his head immediately at Sherlock in medical concern for his friend and Sherlock can speak clearly again.

Sherlock thinks he knows her game now as he makes his move getting her to confirm that the pictures are in the room.

Imagine the egg on his face if John hadn’t managed the smoke alarm in time.

“Amazing how fire exposes our priorities” should be part of a collection of lines that are only said once but thematically repeated throughout the show.

Some would argue maybe “I really hope you don’t have a baby in there” could be added but I don’t think it could be considered as repeated enough thematically.

Sherlock being his usual demanding self about turning off the fire alarm. The fool! Doesn’t he know how hard fire alarms are to turn off? (Maybe just a problem for me...)

Okay sure, easy enough with a gun, but impractical as a long term solution.

Umm, excuse me why does he go “no disrespect but you were clearly born in the 80s” in an episode from 2012? The most she’d be is 32, so clearly she looks at most like that then. Why would she be insulted by that? Also he earlier called a dude unhealthy, stupid and with bad breath in front of him without clarifying level of respect. So basically he’s needling her by adding that. That’s the most positive spin it can get.

John apologising for not stopping /forewarning about a whole bunch of trained killers sweeping in? That is diehard loyalty.

She’s staring hard at him as fire exposes his priority.

She actually does give him a clue by looking down the moment he looks at her. Never thought of that.

He heard something click wrong, looked at her for additional clue so she looks to the side “get out of the way”.

I love that John’s priority is medically inclined in the action scene, checking the vital signs of the guy that got shot.

“Observant?” “Flattered?” Honestly he shouldn’t be so surprised by the first bit as it was obvious some kind of observation + deduction got Sherlock the code.

As usual Sherlock gives zero fucks about gun safety. I feel John at some point is going to tie him down and lecture him about it. “We do not scratch our heads with the barrel of a gun, and we don’t call for the police by shooting in the air!”

You know if you’re knocking him out cold regardless, you don’t need him to drop the phone first. You just wanted the beating to be literal.

“He’ll be fine. I’ve used it on loads of my friends.” Yeah no, tell the doctor what chemical knockout drug you just put in a former drug addict!!

I wonder how much of dream Adler is actual Adler speaking to a drugged out Sherlock.

Could be nothing with the only real part being “hush now, returning your coat”. Would make sense for a dreaming brain to jumble the two cases together.

Start of series 2 we get to see Sherlock’s bedroom while John’s remain a mystery after 4 series.

John is not on the top of his game this episode. “What woman?”

And so it begins.

Mycroft does not have “shut up Hudson” privilege.

That whole phone noise discussion is punctuated with embarrassment.

Ah the gaping jaw that set the sails for the lestrolly ship.

“Christmas is canceled!” I love when John banters with Sherlock.

Sherlock is mean to Molly, but to be fair she kind of blundered a bit with the others and Sherlock complaining about John being away was clearly something he told in confidence. Telling Greg and John that their loved ones are betraying the trust put in them is general misanthropy, but Sherlock probably feels justified in needling Molly about a crush that he figures none of them know anyway.

Oh John’s look there. Greg clearly knows too what is coming but John has the recognition factor.

“Oh shit. It was me. Still me? She still has a thing for me?”

For a sort of dramatic moment it still has one of John’s absolutely funniest facial journeys. “Wait, you apologised? You know what an apology is? Are you feeling well?”

Obviously Irene’s text signal gets a lot of funny moments, but nothing will beat the timing of this one. And now I am imagining Jim with a pair of binoculars sitting across the street and telling Irene “now, send it now, it’ll be fucking priceless!”

And Greg “wait really?” When you’re not sure what your consultant can do to surprise you next.

I believe I made a post about it earlier but Jeanette’s boyfriend just said he’s been keeping track up till 57 on text messages that his platonic flat mate gets where the signal is a woman moaning.

“Do you ever reply?”

Jeanette starts working on her break up speech about then, I believe.

Molly nervously gulps a drink. Now Molly is everyone’s favorite John mirror. Medical professional with a crush on Sherlock, and whose favored type of outfit involves knitwear. John usually takes a drink at emotionally difficult times. Is this Molly handling her rejection, or showing what John is doing/will do without showing John?

Mycroft. If they passed a new law why would Sherlock know about it before you?

“How did Sherlock recognize her from... not-her-face?”

Mycroft answers with a smile and leaving the room.

“I got plans”

“No” I know you. If it’s a date you’ve probably bungled it already. Regardless if it is or isn’t you’ll still prioritize my brother because you always do.

John really goes for the superconfident strategy when dating, huh? “I always thought I was great.”

“I’ll even walk your dog!”

“I don’t have a dog!”

“No, because that was the last one...”

Always thought you were a great boyfriend, huh?

When even your landlady who got out of her marriage through execution thinks you bungled it, you probably bungled it.

Think I’ll break here and continue the rest of the episode tomorrow.

#rebecka’s sherlock rewatch #johnlock #john watson is bi #john watson is a disaster #jealous john watson

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vocalfriespod · 4 years

Text

Practice Makes Easier Transcript

Carrie Gillon: Hi. Welcome to the Vocal Fries podcast, the podcast about linguistic discrimination.

Megan Figueroa: I’m Megan Figueroa.

Carrie Gillon: And I’m Carrie Gillon.

Megan Figueroa: Well, happy 2020 to you.

Carrie Gillon: Oh, my god.

Megan Figueroa: I act like we never talk, by the way. [Laughter]

Carrie Gillon: Yeah. Yeah. Yeah. We only talk during our podcast and never at any other time.

Megan Figueroa: Yeah. We actually hate each other and never speak. [Laughter]

Carrie Gillon: Yeah, 2020. There’s just something terrifying about that number.

Megan Figueroa: I know. It doesn’t seem real.

Carrie Gillon: It doesn’t help that 2020 has already been a dumpster fire of a year.

Megan Figueroa: I know. It really has. And, I mean, it’s America’s fault. Let’s be real.

Carrie Gillon: Yeah. It is.

Megan Figueroa: I mean, mostly. And since – I mean, I’ve been thinking about Australia a lot and I know we have a lot of listeners there so sending loving thoughts to Australia.

Carrie Gillon: I know. I can’t even think about it too much because it’s so sad.

Megan Figueroa: I know. Yeah. I saw this thing – it was an article. It was a climate scientist, and the headline was “Things That Keep Us Up at Night.” I was like, “Oh, shit.” Yeah, I guess being a climate scientist is kind of a real shit experience.

Carrie Gillon: Yeah. I mean, I’ve seen these kind of articles for a long time now because they’re like, “We know what’s coming.” And now, it’s, “We saw this was coming, and here it is.” I’m so mad at some of my friends who would say things like, “Oh, this is all overblown.” Well, was it?

Megan Figueroa: Right? Yeah.

Carrie Gillon: Anyway. Let’s talk about language!

Megan Figueroa: Yes, sorry. Hi. The world is ending.

Carrie Gillon: Let’s pretend it’s not, just briefly.

Megan Figueroa: Yes. Yes. For about an hour. [Laughter]

Carrie Gillon: As FilmEssaying pointed out to us –

Megan Figueroa: On Twitter.

Carrie Gillon: – on Twitter, Sharon Choi, who translated for Bong Joon Ho, who won for Parasite, which is an amazing film if you haven’t seen it.

Megan Figueroa: At the Golden Globes, right? Best Foreign Language Film.

Carrie Gillon: Right. Everyone was praising his speech that he gave in Korean. But really the words that we understood – unless you’re a Korean speaker, but for those of us who aren’t – were Sharon Choi’s trans – wow, not translator, interpreter – her interpretation of his words. What we heard was, “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films,” which is true. I love his films. The ones that I’ve seen, anyway, are all really great – and mostly in Korean.

Actually, T.K. of AAK!, or AskAKorean, on Twitter says, “A more direct and worse translation for Bong’s remark might be ‘The barrier called subtitles – well, it’s not even really a barrier – it’s barely an inch. Once you jump over that barrier, you can enjoy many more films.’” So, that’s a more literal translation of what he said.

Megan Figueroa: Huh. The sentiment is still, I think, 100% there. She said it in a way that feels very poetic because it was, I dunno, I guess in English at least it was less words. It was like – I dunno what it is about it.

Carrie Gillon: It was pithier.

Megan Figueroa: Yeah, that’s the word I’m looking for. Exactly. But I feel the same. Hearing that more direct translation of it, the sentiment for me is exactly the same.

Carrie Gillon: The sentiment’s the same. It’s just slightly more awkward, which makes sense because when you’re speaking on the fly, you can say the most beautiful things in the most awkward ways.

Megan Figueroa: Listen. That’s how I feel about everything I say on this podcast. [Laughter]

Carrie Gillon: Right? Yes. Because we’re not speaking from a script.

Megan Figueroa: No. Well, no shit. Everyone’s like, “No shit you aren’t.” [Laughter]

Carrie Gillon: Wouldn’t it be hilarious if we did write this all out?

Megan Figueroa: Oh, my god. If we wrote this all out, I think we’d actually be pretty good at dialogue.

Carrie Gillon: Yeah, no. It would be a really good skill, for sure.

Megan Figueroa: Yeah. So, I saw that. And, of course, Nyle DiMarco, the deaf actor and model that I follow on Twitter, he was like, “Yeah, deaf and hard of hearing people have been saying this forever,” you know, because subtitles make films accessible for them.

I think about this because, growing up, I had the privilege of – I am hearing. My parents are hearing. So, I just didn’t grow up in family where we watched subtitled films or any foreign films. When I was younger, I was like, “That’s what rich people do. They watch foreign films.” I thought it was a privileged thing to be able to watch foreign films. I never thought about it as an accessibility issue until I was older.

Carrie Gillon: Right. Yeah. I mean, I guess it is a privilege but it’s not a privilege in the sense of – it costs the same as any other movie. So, it’s not an economic issue. But there are people, I guess, who are not super literate. So, maybe for them – we don’t wanna say, “If you can’t read subtitles then you’re worthless” or anything like that – no. But, if you can, you should try! There’s many, many, many great films that are subtitled.

Megan Figueroa: Yeah. And I don’t have dyslexia, but it might be uncomfortable, too, for people who have dyslexia. Although, I have seen some dyslexic people share the type of font that you use may be more helpful. I wonder if that’s been done – if people have made subtitles using that kinda font or anything.

Anyway, if you know, let us know. I think that’s really interesting.

Carrie Gillon: Yeah. And I will say that not all subtitling is – it’s not all equal. Sometimes, the way that they’re – like, okay. There’s always the choice that you’re making, right, when you’re translating a movie – do you say it more directly or do you say it more poetically, right?

Megan Figueroa: Mm-hmm, yes.

Carrie Gillon: But also there’s the font choice or even the color of the font. Sometimes, it’s hard to read. It’s been better more recently than in the past. But there’ve definitely been movies where I’m like, “I’m glad that I have super great eyesight” – or, well, with my glasses anyway.

Megan Figueroa: It’s so tiny!

Carrie Gillon: But like, “I can actually read this, but it’s really hard.”

Megan Figueroa: Yeah. Sometimes, I just don’t think that they’re as large as I would like them to be.

Carrie Gillon: Which is another – there’s another constraint, right? Because if you make them too big, then you’re covering up stuff –

Megan Figueroa: It’s true.

Carrie Gillon: – some visual information. So, it’s tricky. But, anyway.

Megan Figueroa: Actually, this is kind of related to what we’re talking about today with our guest. Because I was thinking about how sometimes with Derry Girls, which is – it’s Irish English. And I sometimes put subtitles on just so that I can understand some of the words better. Obviously, we speak the same language, right? But I’m enjoying the show. Sometimes, it takes me a little bit harder to work through what they’re saying if I’m not also reading subtitles.

Carrie Gillon: Right. Yes.

Megan Figueroa: Yes. We talk about that today with our guest.

Carrie Gillon: Well, we don’t talk about subtitles, but we do talk about the difficulties of understanding mostly non-native accents but also some native accents that are very different from our own.

Megan Figueroa: Exactly. And what that means to process that and how it is more difficult but not a barrier that cannot be surpassed with practice.

Carrie Gillon: Yes. It’s all about practice.

Megan Figueroa: You get better. Just like anything.

Carrie Gillon: Yeah. And if subtitles help, then definitely you should use them. There’s no shame. No shame.

Megan Figueroa: No. Are there some people that think that there’s shame involved?

Carrie Gillon: Yes.

Megan Figueroa: Aww. Of course. We’re so good at shaming ourselves and each other.

Carrie Gillon: Ugh. Yes. I don’t even wanna get started on that topic because – oh boy.

Megan Figueroa: I know. When did this become therapy? [Laughter]

Carrie Gillon: I think the very first episode.

Megan Figueroa: It’s really true. So, we wanted to make one note before we go over to our guest is that we talk about native and non-native accent. That’s just one way of talking about it. Carrie, have you heard other ways people talk about native versus non-native?

Carrie Gillon: I’m sure there are other ways of talking about, but I don’t think I know of another way of saying it.

Megan Figueroa: Yeah. I mean, I wanna point out that we don’t mean to other, right? It’s just one way of talking about –

Carrie Gillon: Other than L1 and L2, which is the way that linguists talk about it. But outside of that – no.

Megan Figueroa: So, this is an accessible way of talking about it because we all understand what we’re talking about. But we do wanna make a point that everyone has an accent.

Carrie Gillon: It’s impossible to not have an accent.

Megan Figueroa Exactly.

Carrie Gillon: I was editing a novel for the very first time. And in this novel, one of the characters basically has been turned into a cyborg, and the author describes this person as not having an accent. And I was just like – because they’re computerized. But I was like, “Hmm. [Laughter] Nope. There’s still an accent there.” Because there’s still pronunciation choices that you’re making –

Megan Figueroa: That’s true.

Carrie Gillon: – for the computer program that’s creating the sounds. Anyway.

Megan Figueroa: Oh, that’s a good point. Because Siri definitely does not know how to pronounce some Spanish words the way they are pronounced in Spanish.

Carrie Gillon: Right. Well, also –

Megan Figueroa: Siri’s got an accent.

Carrie Gillon: Well, I mean, the original Siri has a California accent because that’s where that woman – the voice per –

Megan Figueroa: Oh! Yes, of course. That makes sense.

Carrie Gillon: – the voice actor comes from.

Megan Figueroa: Oh, wait. That’s a person?

Carrie Gillon: It’s a person!

Megan Figueroa: It’s not computerized?

Carrie Gillon: Yeah. Well, the –

Megan Figueroa: I didn’t know that.

Carrie Gillon: – sounds are from – yeah. The words are from a person, yeah.

Megan Figueroa: Huh. Okay.

Carrie Gillon: Yeah. You didn’t know that?

Megan Figueroa: No.

Carrie Gillon: You can follow her on Twitter. Or at least you used to be able to.

Megan Figueroa: Huh. I mean, okay. That makes sense. So, they’re taking words that she said individually and then putting them together. So, that’s why it sounds like a robot to me.

Carrie Gillon: Yeah. It’s obviously not fluid human speech.

Megan Figueroa: Right.

Carrie Gillon: But it is human speech, yeah.

Megan Figueroa: Yes. Oh. Well, I learned something. Time to call it quits for today at 11:00 in the morning. [Laughter]

[Music]

Carrie Gillon: Today, we have Dr. Melissa Michaud Baese-Berk, who is an associate professor and David M. and Nancy L. Petrone Faculty Scholar in the Department of Linguistics at the University of Oregon. She’s also the director of the Second Language Acquisition and Teaching certificate program and the director of Undergraduate Studies. In her research she focuses on phonology and phonetics, examining speech perception and production with special attention to non-native speakers and listeners.

First, before we start on the question we really wanna talk about, can you explain what speech perception and speech production are?

Melissa Baese-Berk: Sure. Those are good questions. When I talk about speech perception, I’m talking about how we go from the acoustic signal, or the sound waves that hit our ear drum, to coming up with a linguistic message. I’m interested in everything that happens during that process, so how we turn those sound waves into meaningful sounds and then how we combine those sounds to make words that we can understand. Then, I basically stop at the words more than moving up to the sentences.

Then, for production, I’m talking about the other side of that process, which is how we go from having some sort of linguistic message that we know we wanna convey, some idea that we wanna convey, and how we turn that into speech sounds.

I do work primarily on speech, but a lot of the stuff that I talk and think about, I think, can also be applied to signed languages. I just focus on the speech side. So, when I say “speech,” I’m mostly talking about the sound side of things. But I think a lot of it can be applied to other modalities as well.

Megan Figueroa: I think that’s a really important – I’m glad that you asked, Carrie. I think about production and perception all the time as someone who looks at how babies perceive sounds. Because I’m looking at babies before they even start producing things and I think so much about how we know so much before we’re able to produce something.

And I think that can be said about adults too. We are doing so much internal calculus before we respond to someone or when we’re taking in the message. That’s what we really wanted to talk to you about today because we’re doing a lot of that and there’s a lot of, unfortunately, discrimination that can come out when we’re doing that internal calculus.

And we’re all guilty, that’s why, again, having the podcast it’s like, “I’ve been there.” We have all of these biases that are at play when we hear speech. Yeah. Really glad to have you on the show.

Melissa Baese-Berk: Good. I’m glad to be here.

Carrie Gillon: You also look at the interaction between speech perception and speech production. How do they interact?

Melissa Baese-Berk: That’s a really good question. It’s something that’s super complex and we’re still trying to figure this out. One common assumption has been that speech perception and production are basically the same processes, just in reverse. So, one ends with an ear and one ends with a mouth and everything else in between is exactly the same.

I think, because of what Megan was just saying, we know really that that can’t be true because we can perceive so much more than we can produce and there are different factors that impact these two processes really differently. What we’re interested in specifically in the lab is how they interact during learning, which seems to be something that is really, really complicated.

So, I think everybody has had an experience or many people have had experiences in classrooms or learning a second language where you feel like you’re not able to express the things that you want to express even if you can understand them. I have always been a person who was like that. I’ve been very jealous of my friends who, it feels like, the oral fluency comes really easily to them, but then you put them in a natural communicative situation, and they can’t understand what somebody’s saying, maybe.

And so we’re interested in why these two things may develop at different rates. We’re peeling it back to the most basic level, looking at speech sounds and how those are related in perception and production during learning. But other labs have been working on the higher-up stuff, how words and sentences and grammar are related in perception and production. There’s some really nice work out of, for example, Maryellen MacDonald’s lab at University of Wisconsin, where Elise Hopman, one of her students, is looking at those issues.

Megan Figueroa: How does speech production differ between native and non-native speakers?

Melissa Baese-Berk: This is also something we’re trying to unpack the specifics of. What we know for sure is that native speakers and non-native speakers produce speech in different ways. We know that your first language, if you are a non-native speaker, will impact how you produce your second language.

There’re some general properties of second language speech. It tends to be slower than native language speech and it tends to deviate on all levels. By that I mean, like, segments tend to be different. So, the actual sounds tend to be different, sometimes in more or less systematic ways. The prosody, or the rhythm and pitch and intonation information, also differs. And, of course, non-native speakers don’t have the same vocabulary that native speakers do in all cases. So, there might be differences in words or in grammatical structure, so how we put together a sentence.

All of those things are influenced by our first language, for sure, but they’re also influenced by the challenge of trying to communicate in your second language, which is – as many of your listeners, I’m sure, know – is a real challenge, right? It’s something that’s a really hard thing to do.

Megan Figueroa: Just beyond the individual sound, if you just take one sentence in your non-native language and you say it, and as someone who is a native speaker says it, the melody might sound completely different. The “melody” – is that the right word for that? Yeah. So, it’ll be influenced by your first language.

Melissa Baese-Berk: Yeah. Even if you get almost all of all of the sounds almost exactly right, people are really good at telling if somebody is a native or a non-native speaker. There’s one study – and I can find the citation to send it to you all – where if you just play a T-burst for somebody, the burst of the sound /t/ – and this is, I think, French speakers – people can tell at a much greater than chance level if somebody is a native or a non-native speaker, which is totally wild, right?

We have all of these cues that somebody is or isn’t a native speaker. Those cues are used by listeners. I think that’s a really important thing to know in production. We’re not just listening to the speech for the actual speech sounds, we’re also using it – as you all have talked about a bunch – to figure out other things about the speaker, who they are in terms of their identity. One of the clearest things, one of the things people are best at, is telling whether somebody is a native speaker of the language or not.

Carrie Gillon: How about speech perception? How does that differ between native and non-native speakers?

Melissa Baese-Berk: Again, this differs pretty substantially, influenced by our first language. For example, the most famous case study is Japanese R and L, right? Or R and L in English, rather, for Japanese listeners. It is a really tricky thing for Japanese listeners to tell the difference between R and L, and we think that’s probably because the cue that signals R and L in English – which is the third formant, for anybody who’s caring about phonetics. If you don’t care about phonetics, it’s fine. There’s a cue in the speech signal that differs, which is the F3. That cue is not used meaningfully in Japanese to differentiate speech sounds.

If you’re a listener from Japanese trying to learn English, you have to learn to pay attention to something that you have never really paid attention to before. That’s a really, really challenging thing. Any time you’re learning any new skill, trying to pay attention to something that you haven’t paid attention to before is probably the hardest thing, right?

Megan Figueroa: Especially since – so thinking about developmentally – we narrow down our sounds as babies, if we are hearing babies. In the first six months, it’s vowels. And then the first year, it’s consonants. We, of course, are able to recognize all sounds when we’re babies, if we’re hearing, but then it narrows very quickly. So, the fact that all of these things, like, there’re cues to know if someone hasn’t been using this language their whole life, it makes sense because –

Melissa Baese-Berk: It does make sense, right? And there’s a reason why we see that narrowing, which is there’s so much variation in speech in general and you have to know what variation to pay attention to and what variation to ignore. Otherwise, you’re not gonna be able to do speech perception. You’re just literally not gonna be able to do it.

Narrowing our categories into these really fine-tuned categories for our first language is a super useful thing, but it’s really hard to unwind that and make our categories either broader or able to be developed into a two-language system instead of a single-language system.

Megan Figueroa: I think it’s important – this is not a thing where suddenly – or not suddenly. This is not a thing where non-native speakers are not capable humans. It’s a thing where it’s like, “Oh, no, your brain is doing exactly what it needed to do.” And so, exactly, unwinding that is very, very difficult.

Melissa Baese-Berk: It’s something that we forget when we’re listening to non-native speakers that they are native speakers in another language and that they are able to communicate the way I am communicating with you all right now without a ton of conscious effort and a ton of conscious thought. We’re able to do that in our native language. And as soon as you put somebody in a second language, that job becomes so much harder.

There’s a great quote from Javier Bardem when he was interviewed on Fresh Air.

[Excerpt from Fresh Air]

Javier Bardem: There is this office in my brain full of people working at the same time that I’m talking to you trying to not, I mean, be wrong with the intonation, with the words. So, it’s very exhausting.

Dave Davies: The office is translating, right? Okay.

Javier Bardem: Exactly. If I speak Spanish, that office is closed. There is nobody in the office. I mean, I’m fine by my own.

[End except]

He talks about how, when he is communicating in English, it’s like having an office full of people in his head who are trying to make sure that nothing goes out the door before it’s been fact checked. But when he’s speaking in Spanish, that office is closed. He doesn’t need the office full of people. I love that analogy because it really, I think, brings home the point of how challenging this is and how much work it is to communicate in your second language.

Carrie Gillon: That is a really good metaphor. And that is exactly how I feel whenever I’m trying to speak in any other language but English. Is non-native speech harder to understand than native speech?

Melissa Baese-Berk: Yeah. It is harder to understand. We know this about speech that we’re unfamiliar with in general. An unfamiliar talker is harder to understand than a familiar talker. You see this, for example, with parents with little kids. They can understand their kids totally fine, and you may not be able to understand their little kid as well.

Megan Figueroa: Yeah. When someone’s like, “He just said this.” I’m like, “Uh, did he?” [Laughter]

Melissa Baese-Berk: Right. We’re very good at understanding familiar talkers. We’re very good at understanding familiar accents and dialects. We’re less good at doing that when it’s unfamiliar. Again, this is just a practice thing, right? We have experience doing this particular skill, and when we have to step outside of that particular skill, it gets a little bit harder. I think we’ll probably get into this in a bit, but it’s not prohibitively harder. That’s the message I’m interested in spreading.

Megan Figueroa: Right.

Carrie Gillon: Yes, exactly.

Megan Figueroa: Us too. [Laughter]

Carrie Gillon: I mean, we’ve talked about it before. It’s just a matter of listening. So, how do language ideologies or attitudes impact our understanding of non-native speech?

Melissa Baese-Berk: It’s a good question. It’s something that I sort of have exasperated sigh here. Much more so than we, I think, would like them to. There’s been a lot of great work ranging from Rubin’s work to Kevin McGowan’s work looking at how just looking at a non-native speaker or someone who you think is probably gonna be a non-native speaker impacts your perception.

We know, especially from Kevin’s work, that that’s probably grounded in expectation. If you expect to hear an accent – if you see somebody who you expect to be accented – you’re likely to perceive them as, in fact, being accented. If you see somebody who is accented and you hear something that is not accented, that often can be – or if you see, rather, a person who you expect not to be accented and hear accented speech, that can also be disorienting for people. I’m using “accented” here to mean non-native accented, not in the “native speakers don’t have an accent” sense. I just wanna make that perfectly clear.

So, we know that that impacts things a lot. We also know that there are tons of individual differences in terms of people’s ability to understand unfamiliar speech. These individual differences can be driven by things like cognitive skills, so how big your vocabulary is can impact how well you’re able to understand unfamiliar speech. But they can also be influenced by social factors like attitudes toward non-native speakers.

We’ve done some work – a couple of instructors at the American English Institute, which is our ESL program here at University of Oregon and I –have done some work looking at how attitudes impact a score we call “comprehensibility.” When you’re talking about speech perception, especially of longer sentences, you can divvy this up into a few pots. You can talk about how accented someone is, and that’s just a sort of subjective measure of how accented you think the speech is. You can talk about intelligibility, which is how many words are you correctly able to transcribe. Then, you can ask people a question about comprehensibility or ease of understanding. How hard is it to understand this speech?

What we found is that, even when people have exactly the same intelligibility scores – so they’re able to transcribe the speech perfectly fine – you see comprehensibility scores differ, so their feeling about how easy the task was differs. The primary factor that predicted performance on that comprehensibility task was attitude about non-native speakers, which is a huge bummer because they’re able to actually understand the speech, but they feel like it’s really hard.

One thing we’re interested in doing – and one of my former students, Drew McLaughlin, is now doing this work at Washington University in St. Louis, looking at actual listening effort – how much effort are these people putting in, using physiological measures, things like pupillometry, where we can see how much effort people are putting into these tasks.

When I first saw these results, I wanted to figure out a way to make them slightly less depressing, and one potential option is you have a bad attitude about non-native speech because it is objectively harder for you to understand. It’s harder for you for maybe cognitive reasons. And those cognitive reasons might actually impact you having a negative attitude.

It could be this sort of vicious cycle where it’s really hard for you to understand and so you’re frustrated by that because we’re frustrated when we can’t communicate as well as we’d like to. So, you’re frustrated. You spend more effort doing this task. The more effort makes your tired-er. And we all know that when we’re tired, we’re really crabby. So, you’re crabby about spending more effort, and that makes you have a bad attitude about this.

I’m not sure about the causality in that direction. People could just be jerks. But I think that there’s something to be said about trying to unpack this idea of how much effort people feel like they’re putting forth and how much effort they are actually physiologically putting forth.

Carrie Gillon: Are they putting forth more effort?

Melissa Baese-Berk: We haven’t tied the attitude piece to the effort piece yet because Drew has been doing some really amazing work on pupillometry. We do know that even for fully intelligible speech – this is non-native speech that everybody can understand really clearly – Drew and her advisor have been doing work that shows that pupillometry measures demonstrate that people are putting forth more effort when they’re listening to non-native speech, even if it is fully intelligible.

We’re not making it too hard for them, it’s just more effortful. And that makes sense, right? It is something that deviates from the norm and we have to probably put forth a little more effort to understand.

Carrie Gillon: Has anyone also studied different dialects of English that are still native and how much effort you have to put forth? I’m just thinking, my experience, one of my grandmother’s cousins, I could barely understand him. He was Scottish. His wife I could understand, who was also Scottish. And they grew up pretty close together, so it was interesting. Yeah. Just that much effort I had to put into understanding this person who spoke English.

Melissa Baese-Berk: Right. Well, a few things there. One is there have been a bunch of studies that have shown that there are gender differences in intelligibility. Women tend to be more intelligible than men for a lot of reasons, including potentially socialization reasons. That’s speculation on my part.

I’m not sure if there’s been a lot of work on effort and unfamiliar dialects, but there is plenty of work on perception of unfamiliar dialects, including some of our work – this is work jointly with Tessa Bent at Indiana, and Stephanie Borrie at Utah State, and Kristin Van Engen at Washington University in St. Louis – where we’ve looked out how perception of unfamiliar dialects correlates with perception of non-native speech.

We show that on some metrics, it does correlate. On others, it doesn’t. It sort of makes sense because as you pointed out, Carrie, they are, in fact, native speakers of the language and so there are some things that they’re doing that are probably distinct from what makes non-native speech hard to understand. But it is the case that, even for unfamiliar dialects, it’s gonna be a really challenging thing for listeners to hear and to understand.

Probably some of that is the effort piece. Probably some of that is expectation. And those two things are probably linked in interesting ways as well. There’s a lot still to be examined. If anybody’s looking for a career, this is a great one. [Laughter]

Carrie Gillon: So, one of the reasons why I even thought of this, I think it’s the show – the British quiz show – QI, which has Stephen Fry. They had a Geordie speaker on, and the Geordie speaker said something like, “Cunny” something.

[Excerpt from QI]

Male Speaker 1: They make a cunny noise like.

Stephen Fry: I beg your pardon?

Male Speaker 1: Ferns make a cunny noise.

[End excerpt]

And it sounds like “cunt” to us. What he was actually saying was “canny.” But Stephen Fry also misheard it. And so there was this whole conversation –

Melissa Baese-Berk: Oh, interesting.

Carrie Gillon: Yeah. So, I found that really fascinating because I thought Stephen Fry would be more likely to know the Geordie accent than me, and he was on the same footing as me actually.

Melissa Baese-Berk: Yeah. I mean, I think it’s also the case that these things get harder the less context you have or the less frequency with which you heard the word. Maybe “canny” isn’t a word that comes up a lot, so he hasn’t had an opportunity to hear that particular thing. Perhaps for him the other lexical item is more frequent. Who knows. I mean, there’s a bunch of possibilities there. But I think it’s a really nice example of how all of these factors come into play.

When we’re listening to speech, we use every tool available to us. Some of those tools are things like, “What is the most likely word that this person has said?” And “canny” is a very low-frequency word.

Carrie Gillon: Absolutely. That’s exactly right.

Megan Figueroa: That goes back to how you said that vocabulary size will affect how you perceive non-native speech, so that makes a lot of sense. The thing that I think about automatically – and it’s because you’re at a university and this is where so many people, myself included, were introduced to so many different non-native speakers speaking English, etc. – is at university. And that might be the first time. These are also your subject pool, right?

Melissa Baese-Berk: Yeah.

Megan Figueroa: I also wonder about the opposite where we have students that are not native speakers of English having to listen to professors that are. I’m just thinking about how hard they’re working to learn new information and to listen to something that’s not their first language.

Melissa Baese-Berk: Right. This is a challenge in education broadly speaking, for both languages and dialects. If you put a person in a classroom, whether they’re a college student or a five-year-old, with somebody who doesn’t speak a language or dialect that they’re used to hearing, they’re gonna have to work much, much harder. I almost said, “twice as hard,” but that sounded like I was quantifying effort. Much, much harder than people who have the benefit of having their language or dialect match the faculty members or the instructors.

Of course, this is gonna have costs in terms of content that you’re able to learn. This is true, I think, across the educational system. It’s particularly marked in college students, I think, because we’re expecting college students in general to function at such a high level. I personally cannot imagine attending college in a language other than my native language. I think it would’ve been extraordinarily difficult.

Whenever I encounter students, as an instructor, who are doing this, I try to approach them with as much sympathy as I can because they’re doing something that I am certainly not brave enough to do and many of their peers are certainly not brave enough to do. Trying to be really patient about the fact that they are doing something that, to me, feels impossible and doing it actually with quite high levels of success. That is astonishing.

Megan Figueroa: I think it’s just a very important thing to remember when we’re looking at our peers too. If you’re college kids – listening to the college kids, like I’m so far removed from it – but, yeah, thinking, what is it – you just don’t really know what people are going through. But I think about that a lot when listening to speech because, yeah, think about how hard that is. How hard is it to learn organic chemistry? And then you’re doing it with, like – it’s another l – yeah.

Melissa Baese-Berk: Exactly. I think that is something that a lot of people just don’t think about. Because we think about maybe the outward things a little bit more. Language is so automatic for us that we don’t really think about the challenges – “They already learned English. They’re here. They’ve learned English. Everything’s fine” – but not realizing how challenging it is.

I think that’s one of the reasons why I love suggesting study abroad for students who are able to study abroad, especially in a country that is not an English-speaking country, because I think it develops so much empathy in students who are able to go somewhere, even for very brief periods of time, where communication is a challenge for them and where they are now in a situation where they cannot communicate as fluently as they would like to communicate.

Carrie Gillon: When their brain is constantly working and you’re just so much more tired.

Melissa Baese-Berk: Exactly. I mean, I think – I have never slept so well as I did when I moved to Spain and started being surrounded by Spanish all the time. It was so exhausting. And I mean, you’re jetlagged and all the rest as well, but I was so exhausted just from trying to unpack what was going on around me that I took for granted in the US.

Megan Figueroa: I wonder if that’s a little bit of what’s happening – so, like I said, maybe you’re living in a bubble, and that can sound like whatever it was. You go to university. And then, say you’re a native speaker of English and the professor is a non-native speaker of English, you’re just not used to being placed in that position because you have been living in some sort of sound bubble. That might be really frustrating for you.

Melissa Baese-Berk: Yeah. I think it is. I think it is really frustrating for students. We have more than anecdotal evidence that it’s frustrating for students. A year or so ago, the advising office at UO contacted me and some other folks and said, “We’re getting all of these complaints from students – we’re getting complaints from parents – about non-native, especially TAs, but also instructors in general. What can we do about this?”

This is where some of the training work that I’ve been doing comes into play because we’ve done some scientific studies suggesting that if you just practice, you can get better at understanding unfamiliar speech, especially non-native speech. When I say “practice,” the trainings that we’ve done have been 30 minutes a day for two days. We show really robust generalization to novel talkers and to novel accents.

For me, that’s an hour of work. And it’s considered work, right, you’re transcribing all of the speech and really practicing trying to understand the speech. But you get percentage point gains in intelligibility that are quite high. One thing we’ve been developing is some training for students that help them understand both what the non-native speaker is going though, so some basic literacy about how hard it is to understand – or how hard it is communicate in your second language, rather. We do some basic literacy about the fact that it is hard to understand non-native speech – so validating their intuition that this is a challenging thing – but then showing them that you can get better at it.

I think that has been a really important thing for us to share, both with advisors and with students and parents, to help them understand all of the social pieces that go into this as well as the cognitive pieces. One thing we’ve been doing that I love that we’ve managed to include – so a lot of our students are motivated, as any humans are, by external motivators.

One of the things we’ve talked about is the fact that this is a skill that you can use when you’re applying for jobs. If you can tell an employer, a potential employer, “I also have experience communicating across language barriers.” That’s something that is really important if you’re working for a global company or even for a company that has any diversity in it at all. If you’re able to communicate with individuals or at least are willing to try, you’re going to be more successful than somebody who is focused on native English only.

Megan Figueroa: I love that so much. I’m thinking about what a training might – you’re a freshman coming into university, just as an example, again, of college. And instead of – at the welcoming event or whatever – instead of talking about the pitfalls, it could be more of a, “Another exciting thing that’s gonna happen to you is that you’re gonna be introduced to so many different people that speak in so many different ways. It might be a little bit hard at first, but that’s normal.”

If only someone had – like, I don’t think that I really needed to hear that at that point because I understood that, I think, at 18. I understand it more now. But if someone would’ve said that, it still would’ve been like, “Oh, I love that someone’s saying that.” I feel like that would’ve been very validating for so many people.

Melissa Baese-Berk: Yeah. So, we’ve been working – and it’s, of course, slow because universities are huge bureaucracies – but we’ve been working with the folks at orientation which we, because we’re Oregon, call “IntroDUCKtion” with a D-U-C-K because of the ducks. [Laughter]

Megan Figueroa: Wow. Okay. That’s kinda cute.

Melissa Baese-Berk: Yeah. It is pretty adorable. “IntroDUCKtion.” And also working with some folks on our web design team to come up with ways to include this in really early-on communication with students. One of the things we’re interested in doing is developing an online training that’s a sneaky training. So, like, “Click here to learn some facts about the University of Oregon,” and we have those facts being delivered not just by native speakers but also by non-native speakers in a variety of dialects, so you get just a little practice listening to those things and understanding them in sort of sneaky ways.

But also being very clear to students that it is an exciting thing. We’re at a global, international university that attracts students from all over the world and attracts the best faculty from all over the world. That’s the other thing we try to frame like, “Your faculty and your TAs know a lot, even if they are not able to communicate with you the way that maybe a native English speaker is able to communicate with you. As part of that benefit, you also have this challenge which is trying a little bit harder to understand what these people are saying.”

Megan Figueroa: What would you recommend to people who are not in this environment? You know, you’re not a freshman student coming to your university, but you still want to learn how to improve your communication with someone who speaks a non-English language as their first language.

Melissa Baese-Berk: I think, again, the answer is to practice. There’s a bunch of different, creative ways you can go about practicing. With YouTube now you can find accented speech all over the place. There are other great resources that are open source, so the Speech Accent Archive is one of those at George Mason University. Northwestern University has a bunch of freely available non-native speech that you can listen to and practice.

And you can think about why you want to get better at it, right? Is it the case that you have a friend who is a native Mandarin speaker and you just wanna get better at understanding that person’s speech? Well, one really good way to do that is hang out with that friend more and practice with that friend more. Is it the case that you have a big community of Spanish speakers in your area, and you don’t speak Spanish, and maybe you’re trying to learn Spanish but you still wanna be able to communicate with people whose native language is Spanish? Well, then listen to a lot of Spanish-accented English. We know that if you train on a single accent, you get better at that accent.

And if you want something that’s broader, practice across a wide variety of accents and you’ll, we think, improve at novel accents as well. You can target your practice to whatever you’re most interested in doing, but there’s plenty of ways to do that both in person and online.

I think one thing non-native speakers really appreciate is if somebody says to them like, “I am having a hard time understanding you, but I wanna get better at it, so can we practice more? Can I talk to you more often?” I think non-native speakers would be happy to hear that instead of what they typically experience which is the sort of shutting them down because they are not as fluent as a native English speaker.

Carrie Gillon: Or told to get rid of their accent.

Melissa Baese-Berk: Or told to get rid of their accent. This is a thing that, I think, one of the most frustrating things to me about perception of non-native speech is, as you all are very familiar in Arizona, the US has this big push toward English only in a variety of domains and insisting that if you live in the United States, you should speak English. Of course, there’re many, many, many problems with the viewpoint, which you all have covered in great detail.

But I think one of the things that is so frustrating to me is that even when people do speak English, they have learned English, it’s not enough because they’re not native English speakers. So, then we start to see it’s not really a problem with the language at all. It’s never been about Spanish. It’s never been about Spanish-accented English. It’s about the people. That, to me, is super sad and really frustrating.

I would like to give an opportunity to people who – it’s not the people, right, they just feel like non-native speech is hard to understand – an opportunity to them to say, “We’re asking people to do a lot by communicating with us in English. So, why don’t we do just a little bit” – my student Drew, who I mentioned before, has this great analogy that she came up with that I love, which is if you think about communication like moving a couch, if you ask one person to move a couch, it is going to be slow. It’s gonna be a really awkward process. Your floor is gonna get all scraped up from the couch getting dragged around the house. But if you have two people lift the couch, it doesn’t mean that it’s easy. It doesn’t mean that suddenly moving the couch is something that’s a day in the park. But you’re able to do the task. It’s easier when the communicative burden is shared across two parties.

So, I think even though you have to do a little bit of work, recognizing the huge amount of work that the other party is doing is something that, to me, is sort of a no-brainer in terms of wanting – I want to do that for communication. I think most people want to make communication be easier, especially when they realize the burden that the other person is carrying this case.

Carrie Gillon: Yeah. That’s a really great metaphor as well.

Melissa Baese-Berk: Yeah. It’s a lovely one.

Megan Figueroa: Well, it’s really helpful because then – I mean, I hope that this episode at least is just like one step in that direction. Although, our listeners are already taking those steps. But it’s kind of that thing where you’re like, “Okay, now that I know this, maybe I’ve been placing too much either blame or, like, just trying to figure out what the problem is and putting it on the person instead of a situation or whatever it is.” Just like how, when we discriminate against language, it’s not just about language, it’s about the person. We need to separate those two things so that we aren’t blaming people.

Melissa Baese-Berk: Right. I think being very clear – I teach a class called Language and Power even though I’m not a sociolinguist. It’s my favorite class to teach because our tagline, even before you all came around, was also “Don’t be an asshole.”

Carrie Gillon: Really? Nice!

Melissa Baese-Berk: Yeah! So, I love teaching that class. I think one of the things that I end the class by talking about is, you know, I’m not saying you can’t make any judgements about language. We all make judgements about language all the time. There’s stuff you like. There’s stuff you don’t like. There’s stuff that’s frustrating. But being aware of what those judgements are and whether or not they’re actually judgements about language – are they judgements about language or are they judgements about people?

And being able to unpack that for yourself or for the people around you is something that I think is so critically important because we make these judgements about language and we pretend like they’re just about language and there’re easy fixes, but we would never, ever, ever, ever tell anybody to change their race. That’s not an acceptable thing to say. But to say, “Get rid of your accent,” that’s something that people say. That’s something people make money on.

People make lots and lots of money helping people get rid of their accents, which is, to me, a little bit horrifying, but I won’t dive into that well today. But I think being aware of what we are asking people to do, and what we’re asking people to do especially for non-native speakers who are not always here by choice, who are not always speaking English by choice, and the fact that we’re asking them to change something about their identity that’s so fundamental to who they are, that to me is something we should be thinking very carefully about as we do it.

Carrie Gillon: Absolutely.

Megan Figueroa: Absolutely. I mean, I think you’ve already said it, but is there one main point that you feel is important that you could tell our listeners so we can all be less of an asshole about all of this?

Melissa Baese-Berk: Yeah. I mean, I think that just recognizing that it takes two to tango, right? It takes two people to communicate and recognizing that both sides have some responsibility for the communication to be successful, I think, is the most important takeaway from this work.

Megan Figueroa: Yeah. I love that. One of our guests, Ake, said, “Be good and be kind.” And I really – as we say, “Don’t be an asshole.” And we really mean it. I think that really helps relieve tension too when we say “Don’t be an asshole,” but “Be good and be kind” just gets me in the feels – like in my heart – and it’s like “Don’t you want to be good and be kind?”

Melissa Baese-Berk: Yeah. I mean, just putting a little bit of niceness into the world, if you can do something that is so – me trying a little harder to understand non-native speech is such a tiny thing. Why not just do this little tiny thing that makes somebody’s life a little bit easier? Because one thing we didn’t get into today, and I don’t wanna go into too much detail about, is some of the true horror stories people have about trying to communicate in their non-native language and the things that people say and do to them to shut them down. You know, bringing just a little bit of kindness back into those communicative scenarios, I think, is critically important.

Megan Figueroa: Absolutely.

Carrie Gillon: I agree.

Megan Figueroa: This has been a really great conversation. Is there anything that we haven’t covered that you wanted to talk about?

Melissa Baese-Berk: No. I think we hit all of the big-picture things that I’m really excited to talk about and things that I think are really ignored, I think, by a lot of our society. I’m super happy you all have this podcast. It is assigned as extra credit to my Language and Power students because it is so relevant for them. And it’s always exciting when they come in with, you know, they’ve gone through your back catalogue and found something that they’re really excited about.

Carrie Gillon: Oh, that’s amazing!

Megan Figueroa: I love that!

Melissa Baese-Berk: I appreciate the work you all are doing. I know it’s not – you cover so many topics that are not easy topics, but I’m super impressed with the work that you all have been doing.

Carrie Gillon: Aw, thank you!

Megan Figueroa: Thank you so much. And now I know that I’m impressed with the work that you’re doing in Oregon.

Melissa Baese-Berk: Thank you.

Megan Figueroa: Thank you so much for being with us.

Melissa Baese-Berk: Oh, thank you. It’s been wonderful.

Megan Figueroa: And everyone –

Carrie Gillon: Don’t be an asshole.

Megan Figueroa: Don’t be an asshole.

[Music]

Carrie Gillon: We would like to thank our newest patrons from December.

Megan Figueroa: And ya’ll are the ones that helped us go over the goal we had, right?

Carrie Gillon: Yeah! So, we finally met our second goal. Going forward – so from this episode on – we can transcribe our episodes.

Megan Figueroa: Yay!

Carrie Gillon: If you wanna help us meet our third goal, which is to pay for previous episodes – meanwhile, I’m doing them, but I would rather pay someone else to do them because it’s not my favorite thing to do.

Megan Figueroa: Yes. Yeah.

Carrie Gillon: You can also join us. But first, let’s thank our newest patrons! Kyle Wilkinson.

Megan Figueroa: Yay!

Carrie Gillon: Shiloh Drake.

Megan Figueroa: Shiloh! Thank you.

Carrie Gillon: Yeah!

Megan Figueroa: I know you.

Carrie Gillon: Stephen Murphy.

Megan Figueroa: Yay!

Carrie Gillon: Mike Mena. And Adam Hartzel. So, if anyone wants to join us at patreon.com/vocalfriespod, you can join us at the $5, $3, or $2 level. We changed it from $1 to $2 because Patreon takes such a big chunk of the $1. But, $3 and $5, you get a sticker. Actually, you get multiple stickers over time. And the $5 level, you get bonus episodes. So, yeah, thank you!

[Music]

Carrie Gillon: The Vocal Fries podcast is produced by me, Carrie Gillon, for Halftone Audio, theme music by Nick Granum. You can find us on Tumblr, Twitter, Facebook, and Instagram @vocalfriespod. You can email us at [email protected] and our website is vocalfriespod.com.

[Music]

#transcript #linguistics #sociolinguistics #linguistic discrimination #linguistic diversity #pronunciation #accents #non-native speakers #language #english #phonetics #phonology #perception #language perception #language production

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