Memories are always experienced in first-person like when seen through shard-viewing. However, like with shard viewing, although all feelings and sensations are intense, there is a sense of 'offness' to remind you that this isn't really you (even with the narration says 'you'); how much you might be affected will then depend on how it pings to your individual character.
Powers are on unless stated otherwise: some areas will specifically limit abilities.
Items on your character's person are also okay to bring.
Backtracking is allowed unless stated otherwise; you may return to the "hub" or nexus at any time, but not your starting point.
You're not alone; your character is paired with one other person. Please refer to this chart;the person in the seat across from your character will be their partner (this will be made explicit ICly soon…) Technically, your character does not/should not ever leave the area their partner should be in (so long as the other mun is presently also playing).
Each character will also possess a means through which to contact one another (usually a cell phone except in certain circumstances; please feel free to use the IC contact portion to communicate with PCs not within your range.
Death may occur. Should your character die, there is an in-heart revival mechanic.
Images of NPCs should be taken in tandem to character descriptions.
Location images are meant to add a loose approximation / flavor but shouldn't be taken too literally; BGM (when provided) is for OOC flavor.
All players, except for Yato and Yukine, have a swanky smart phone at their disposal which they can use to text, place phone calls, or even video chat with other PCs in their Contact List.
Unfortunately for Yato and Yukine, they are stuck with Coo Phone.
Luckily, Coo Phone is very, very smart (a god pigeon!?) and can be summoned at will so just write your message out on the hand-dandy scrap of paper it carries in its beak and your message will be delivered! (Finding the pen, though… that's on you.)
Please respond to this post in order to be included in the IC contact list!
You're on a bus. A tour bus, to be precise. Sitting across from you, you may find someone you know quite well—though they may in fact be sleeping at the moment. You'll notice on your person, you have a cell phone (probably) as well as a map. As you go along, something rattles suspiciously underneath your seats. The bus driver has their back to you all. There is a cord you can pull that should stop the bus at any point of your choosing. Speaking of cords… there's the end of one tied to one of your fingers. The other end of it is tied to one of the fingers of the person sitting across the aisle from you.
( what is. . . what is this? glancing around at everyone else on the bus before investigating the strange weight on his own hands. and. . . slowly. . . following the chord across the aisle.
this better not be some gross red string of fate thing. )
unfortunately, there's nobody to shove her out of the way. The bus hits her, and--she shatters, exploding into dozens of tiny pieces of light that go streaking across the sky.
The bus comes to a screeching halt. As it does, for those who haven't collected them so far, out from underneath the seats small, green, rune-covered cages and bug nets—one for each person. The bus doors, one in front and one in the back, slam open. By the time you manage to collect your bearings, the bus driver has mysteriously disappeared. Also mysterious? The back of your map, once blank, is now full of writing.
You'll find the bus has come to a stop in front of the park. There's a man on the sidewalk peering at the accident with a look of great concern.
—Oh, and. One more thing. You have a tail? And you might notice as you get off the bus that its seats are still full of people. People who look exactly like you. So I guess that's really two more things. ]
[ Even from the outside, this restaurant doesn't look normal. Once you step through the double-doors, though, you see that the shop shop is designed from top to bottom for felines. A good thing, considering that it is pretty much overrun with them. Big ones, small ones, black ones, white ones, calicos and tans—everything from what would appear to be wild cats to tiny kittens.
Your attention is pretty riveted on the cats and their oodles of toys, of which you'd have the run of: the store's apparently not open just yet, or so it would seem. This is also probably a good thing. The shop keeper is the only person present—wrestling one of those aforementioned wild cats right this moment. ]
The house that proclaims itself to be the Iki residence is located amongst a cluster of homes of equal size. Coming up the side walk, you find iron gate separating the front yard from the city street open. The garden out front is well-taken-care-of, filled with small flowering plants and well Japanese topiary. The houses on either side of this residence happen to be quite a bit smaller, but that doesn't mean anything. From here, you can see the sliding front door has been left open. Somehow, you feel like you're being invited, very welcome!
[ Leading to the shrine proper, there is a park, as well as a huge children's playground. Complete with see-saws, tire swings, slides and monkey bars, it looks to be a place that you could enjoy and have fun in, if you wanted to stop and do so.
Other than that, it... doesn't look like there's much to do here now. ]
The shrine is well-kept, massive, and scarlet red in color. When you first arrive, the complex appears to be empty beyond the main gates. However, once you pass underneath the traditional red torii gate, the plum trees inside burst into full bloom, and shining figures come into being:women dressed in the traditional white-and-red garb of priestesses as well as an elderly man in fancy looking kimono and a feathered cap. In spite of its familiarity, something about this place puts you ill-at-ease.
You reach the riverbank. There's a slightly steep hill leading down from the road to the bank proper, and the river itself. To your left, there is a very large sakura tree. It seems there's someone underneath it. To your right, there's a large field of flowers.
[ That's sure a gorgeous sight to behold there on both sides. But might as well start with the person, wandering over in that direction to have a little chitchat. ]
You find yourself staring at a concrete wall—a fence, really—surrounding the grave on three sides, the fourth by a large house. There is no door or gate for entry.
[ From the outside, the school is set up in typical Japanese high-school fashion. A large set of iron gates and a concrete wall at the curb separates the school from the rest of the street, but the gates are wide open to allow admittance. Two buildings, multiple stories high stretch out long, built as though multiple classrooms are situated along one main corridor for each. These two buildings are then connected by an elevated walkway between the two.
However, as soon as you enter through the main building's main entrance, you find yourself instantly inside of a classroom. Mainly populated by empty desks (including your own desk), the teacher's podium, the broom closet, a big box in the back of the room, and an empty chalk board, there are notably two people, two boys, also present with you in the room. One of them is looking out the window, and the second one is glowering at the boy looking out the window. ]
Although located squarely in the middle of what is clearly an urban, Japanese area, the quaint little cabin you approach features European architecture, and the area surrounding it, what should surely be a front lawn or a regular lot, resembles the ground of a mountainous forest. The front door is painted purple, and engraved on it is a familiar snake. There's also a sign at the front: Yato Not Allowed.
From the outside, it looks like an ordinary school gym: it stands separate from the other main buildings, perpendicular to the main buildings for study. The lights are on inside and you can hear the sound of people within.
[ No matter where you are, no matter what your're doing, however important it was, you feel a tug: unlike the cords that have been keeping you connected to your partner this whole time, this one comes from somewhere else, someplace--closer to your chest, spreading through your whole body. Your vision begins to darken at the edges, slowly at first, and then rapidly.
You black out.
When you wake up, you find yourself back where it all began: on the bus, where you left your body. Sitting in the seat on your lap is your cage with butterflies—if you earned any. Slowly around you all the others are waking up too. ]
[ This is your PRE-BOSS MINGLE; I'm thinking everybody has between 15 and 30 minutes depending on how things go to check up on one another and compare notes. ]
[ Your words don't seem to reach the girl. She stands motionless, silent… still like a doll. Your blows certainly don't seem to reach your enemies, either. They glance off some barrier, previously unseen, that glows softly golden when you try to to cross it.
The girl giggles ]
Father, I think they want to fight.
[ He responds: ] I think they do, too. To be honest, I was going to let them go, but…" His eyes narrow and the smirk fades to something more contemplative. "…On second thought, they might continue to prove a hindrance in spite of the service they've done for us.
[ He extends his hand. ] "Come! こりつ!"
[ In a flash of light, the girl in the kimono becomes a beam of light that flashes into the boy's hand and solidifies into a monk's staff. He slams the staff's butt against the ground, and there is a ripple. Across the concrete, in front of, behind you—maybe even underneath your feet!—drawings made with coal ink suddenly light up. Each in the same shape scrawled on her mask, each one spews from the ground an ayakashi—
Suddenly, the place is full of them, dozens of flying moths, chittering monkeys, spiders the size of large dogs, enormous floating pirannha…. all of them with far, far too many eyes and hungry mouths.
All of them calling to you. Coming straight for you. ]
[ Suddenly, there's a loud honking sound and the crash of metal on metal. Looking behind you, you'll see... the Guide, climbing out of a van, which he would have appeared to have driven in reverse... right into the crashed bus. ]
S-Sirs, madams—! I hope I am not too late.
[ He races to the back of the double-doors and opens it. Out tumble gigantic water pistols as he hauls out a cooler, the lid of which he flings back to reveal tons of water balloons. ]
Hurry! For those of you who can't fight—arm yourselves! I have taken the liberty of filling these with holy water—even creatures as foul as these cannot withstand its purity!
[ Even as he speaks, a piranha swoops down at him, overlarge jaws open and ready to bite. He scuttles to get out of the way. ]
This is the last that I can do for you! Everything else—I leave it in your hands!
[ There is a sound, like stars being born in the night, of butterflies' wings, growing, louder and louder. Lights form, coalesce, shaped like that butterflies, growing and growing, lengthening, in bursts, with every word, with every memory, with the joy of song and the love behind each effort. They change shape—a tiny green rooster, a purple snake, yellow piglets, cream cats frolicking, louder and brighter and bigger and bolder, blue horses that rear on their back legs, coming together, coalescing, forming and reforming, holding back the darkness, until finally…. It's almost blinding, enough to bring tears, but most certainly the shape of a very magenta, fifty-foot eagle.
An eagle that shrieks, piercing the darkness as it soars in a circle, bringing back the light to the world and lifting the broken bits back to their rightful places. Glowing sparks like fire flecks fly off its feathers, and as it passes through you—each and each and each of you, in turn—you can feel its love. Its gratitude. Growing with each person it touches, giving and receiving, a chain of light tying you all together running off its tail feathers, until it feels like this whole heart is about to burst. If you were injured or blighted or hurt in anyway before now—you are not anymore. And if you were sad, feeling guilty, or overwhelmed—it circles you once, twice, bestowing on you feelings of love and forgiveness and understanding.
You hear it, Roc's voice, in your mind, in your heart: ]
[ The door opens to a very normal looking girl's bedroom: a bed, made up with a purple duvet and matching frilly purples, a very large window through which sunlight can and does stream in, a small bedside table, a desk for studying, and a small vanity set occupy the room as more traditional features. It feels a little cold in here, and outside the window you can see snow, bright and beautiful, falling in soft, even sheets.
However, departing just a little from the norm, there's a small, circular table with a thick quilted cover pinned underneath the top. On top of the table, mugs of steaming hot chocolate have been set out, and underneath it sits Hiyori. ]
You're just in time. Your hot chocolate is ready. Come sit with me.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
Rules / Mechanics
Powers are on unless stated otherwise: some areas will specifically limit abilities.
Items on your character's person are also okay to bring.
Backtracking is allowed unless stated otherwise; you may return to the "hub" or nexus at any time, but not your starting point.
You're not alone; your character is paired with one other person. Please refer to this chart;the person in the seat across from your character will be their partner (this will be made explicit ICly soon…) Technically, your character does not/should not ever leave the area their partner should be in (so long as the other mun is presently also playing).
Each character will also possess a means through which to contact one another (usually a cell phone except in certain circumstances; please feel free to use the IC contact portion to communicate with PCs not within your range.
Death may occur. Should your character die, there is an in-heart revival mechanic.
Images of NPCs should be taken in tandem to character descriptions.
Location images are meant to add a loose approximation / flavor but shouldn't be taken too literally; BGM (when provided) is for OOC flavor.
IC Contact Post
Unfortunately for Yato and Yukine, they are stuck with Coo Phone.
Luckily, Coo Phone is very, very smart (a god pigeon!?) and can be summoned at will so just write your message out on the hand-dandy scrap of paper it carries in its beak and your message will be delivered! (Finding the pen, though… that's on you.)
Please respond to this post in order to be included in the IC contact list!
Natalie
Silver
this asshole
Daisy
Vash
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CARACAL
Mushy
Yukine
Coyote
Maya
Lyra
Panther
WE'RE ON A BUS!
[ OOC: POWERS ARE OFF FOR NOW ]
Re: WE'RE ON A BUS!
this better not be some gross red string of fate thing. )
Yato. . .?
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BUS ACCIDENT
unfortunately, there's nobody to shove her out of the way. The bus hits her, and--she shatters, exploding into dozens of tiny pieces of light that go streaking across the sky.
The bus comes to a screeching halt. As it does, for those who haven't collected them so far, out from underneath the seats small, green, rune-covered cages and bug nets—one for each person. The bus doors, one in front and one in the back, slam open. By the time you manage to collect your bearings, the bus driver has mysteriously disappeared. Also mysterious? The back of your map, once blank, is now full of writing.
You'll find the bus has come to a stop in front of the park. There's a man on the sidewalk peering at the accident with a look of great concern.
—Oh, and. One more thing. You have a tail? And you might notice as you get off the bus that its seats are still full of people. People who look exactly like you. So I guess that's really two more things. ]
Re: BUS ACCIDENT
what the fuckkkkkk just happened. ]
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THE CAT CAFE
Your attention is pretty riveted on the cats and their oodles of toys, of which you'd have the run of: the store's apparently not open just yet, or so it would seem. This is also probably a good thing. The shop keeper is the only person present—wrestling one of those aforementioned wild cats right this moment. ]
Re: THE CAT CAFE
Cats!!
[GONNA PET ALL THE KITTIES]
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Iki Residence
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THE PARK
Other than that, it... doesn't look like there's much to do here now. ]
Re: THE PARK
it's not a theme park, alas... ]
We can get to the shrine from here!
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THE SHRINE
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THE RIVERBANK
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Keeping an eye on the tree?
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THE GRAVEYARD
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THE SCHOOL
However, as soon as you enter through the main building's main entrance, you find yourself instantly inside of a classroom. Mainly populated by empty desks (including your own desk), the teacher's podium, the broom closet, a big box in the back of the room, and an empty chalk board, there are notably two people, two boys, also present with you in the room. One of them is looking out the window, and the second one is glowering at the boy looking out the window. ]
Re: THE SCHOOL
Hiiiii~
Re: THE SCHOOL
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THE CABIN
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curiously walking up to this cabin, peeking at the front door-- ]
HEY!!
[ FUCK YOU, CABIN, HE'S GOING INSIDE??!! ]
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Re: THE CABIN
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/3
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THE GYM
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INSIDE
Re: INSIDE
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Return to Start
You black out.
When you wake up, you find yourself back where it all began: on the bus, where you left your body. Sitting in the seat on your lap is your cage with butterflies—if you earned any. Slowly around you all the others are waking up too. ]
[ This is your PRE-BOSS MINGLE; I'm thinking everybody has between 15 and 30 minutes depending on how things go to check up on one another and compare notes. ]
Re: Return to Start
Huh...? What's going on?
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BOSS FIGHT; ROUND ONE (Enemy Action)
The girl giggles ]
Father, I think they want to fight.
[ He responds: ] I think they do, too. To be honest, I was going to let them go, but…" His eyes narrow and the smirk fades to something more contemplative. "…On second thought, they might continue to prove a hindrance in spite of the service they've done for us.
[ He extends his hand. ] "Come! こりつ!"
[ In a flash of light, the girl in the kimono becomes a beam of light that flashes into the boy's hand and solidifies into a monk's staff. He slams the staff's butt against the ground, and there is a ripple. Across the concrete, in front of, behind you—maybe even underneath your feet!—drawings made with coal ink suddenly light up. Each in the same shape scrawled on her mask, each one spews from the ground an ayakashi—
Suddenly, the place is full of them, dozens of flying moths, chittering monkeys, spiders the size of large dogs, enormous floating pirannha…. all of them with far, far too many eyes and hungry mouths.
All of them calling to you. Coming straight for you. ]
"cOmE oVeR!"
For the non-combatants!!!
S-Sirs, madams—! I hope I am not too late.
[ He races to the back of the double-doors and opens it. Out tumble gigantic water pistols as he hauls out a cooler, the lid of which he flings back to reveal tons of water balloons. ]
Hurry! For those of you who can't fight—arm yourselves! I have taken the liberty of filling these with holy water—even creatures as foul as these cannot withstand its purity!
[ Even as he speaks, a piranha swoops down at him, overlarge jaws open and ready to bite. He scuttles to get out of the way. ]
This is the last that I can do for you! Everything else—I leave it in your hands!
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World of Darkness
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WORLD OF LIGHT (TRUE END)
An eagle that shrieks, piercing the darkness as it soars in a circle, bringing back the light to the world and lifting the broken bits back to their rightful places. Glowing sparks like fire flecks fly off its feathers, and as it passes through you—each and each and each of you, in turn—you can feel its love. Its gratitude. Growing with each person it touches, giving and receiving, a chain of light tying you all together running off its tail feathers, until it feels like this whole heart is about to burst. If you were injured or blighted or hurt in anyway before now—you are not anymore. And if you were sad, feeling guilty, or overwhelmed—it circles you once, twice, bestowing on you feelings of love and forgiveness and understanding.
You hear it, Roc's voice, in your mind, in your heart: ]
Thank you. You give me back myself. My strength.
[ It then wheels itself around, smacking straight into the gate keeper and the moth, severing the two: the former, purified, the latter, withering away, as she remembers the most important lessons taught to her by all her precious friends here. ]
No.
[ She wipes the back of her fist of her bloodied arm—human again—across her face to wipe away the tears as she lifts her leg up. ]
I should have never listened to you. This is my place. These are my friends. You can't make me hurt them, or me--and you don't belong here!
[ She stomps down, flattening the remains of the tiny monster underneath her foot with such force that bits of it split and float off. ]
[ She turns to you all, sniffling, but smiling. ]
Thank you. I'm so sorry you all had to see that.
[ There's a small, awkward pause— ]
I hate to ask, but… if you could all do me one last favor and remove these bits of mask—
[ She gestures at the remains, which, in all that eagle-tastic glory have somehow been collected and deposited neatly into a single green bug cage ]
—so they don't ever trouble this place again…. Then I can take you to the True Heart, and you can go home.
[ AND IF THERE'S ANYONE STILL CRYING, she's coming over to give them a great, big, hug. ]
Re: WORLD OF LIGHT (TRUE END)
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Re: WORLD OF LIGHT (TRUE END)
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Re: WORLD OF LIGHT (TRUE END)
I MISSED THIS, why, how, it's so cute. sorry jay, coming back to this
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TRUE HEART
However, departing just a little from the norm, there's a small, circular table with a thick quilted cover pinned underneath the top. On top of the table, mugs of steaming hot chocolate have been set out, and underneath it sits Hiyori. ]
You're just in time. Your hot chocolate is ready. Come sit with me.
[ she pats a space next to her. ]
It's warm under here.
Re: TRUE HEART
[going to do just that]
Nice room.
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Re: TRUE HEART
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Re: TRUE HEART
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