Don’t let your (Human!!!) Mechanic make Mixtapes
Writing Prompt: A pirate ship boards, the human crewmate uses the coms to blast music trough the ship as a terror tactic.
Prompt Source: user fire-sword; subreddit Humans Are Space Orcs
The Captain had listened to this remix exactly once in its entirety and labeled it a terroristic weapon of mass morale destruction before locking it in a drawer.
To be honest, the human crewmate was perhaps a touch more thrilled than she strictly should have been to be given permission to actually use it.
It was horror-rock, falling into that delightful "creep" tune category with synthetic violins that wailed between high and low notes and a bass strumming heartbeat that artificially raised the pulse rate of the listening parties. Aliens... well, she'd found out aliens responded to that unconscious cue WAY more than humans did.
The fact that she knew every beat and bounce and hitch of it, well, that was where the morale destruction came in.
The pirates had boarded in a specific hallway- and they had been subtly guided to this door for a reason.
It was the maintenance crew hallway. The entire floor had holes big enough to reach through or climb through, and the human crewmate? She fit through them, being lanky, tall, and double-jointed. The ceiling had the same grates on either side of the walkway, to allow for access when the gravity was turned off, making it a catwalk surrounded by bolt holes.
The voice was soft at first- only someone who knew the song would know the words. But Human Jazz played them out perfectly to make the Pirates regret ever trying to raid this ship.
The first set of verses were about "burying" something, and every time it said "buried it" Jazz dropped uninterrupted from the ceiling to the floor. Just at the edge of vision, without touching the holes or making a sound, timing her catch of the bars below to the thump of the drum.
And once they were good and spooked, on edge...
She added her voice to the ship speakers, a roar that made the walkway vibrate under their feet for the chorus.
"RUN! AWAY! RUN FOR YOUR LIFE, BEFORE THE MONSTER- MONSTER IS INSIDE! THOUGHT IT WAS DEAD! AND GONE! BUT YOU WERE SO WRONG! HASN'T BEEN SO LONG; YOU NEVER THOUGHT YOU'D SEE- SEE, SEE THE DEAD WALK!"
Screaming from above and plasma lighting up the walls told her it was working.
What a shame for them- the pursuit would continue until morale improved. Her morale, or course. All that light would make this more troublesome until it cooled.
The next verse was about what had been buried coming back to bury the singer- it was time to change tactics anyway.
Now her hands reached up through the tiny holes and grates throughout the verse, grabbing and yanking on legs, tentacles, weapon barrels, whatever was in reach, heedless of the burns she was getting or the catch of nails on fabric and skin. Her fake-claw nails were just acrylics, she'd replace them after this, and some bloodstains from a ripped cuticle or two would really sell the idea that something dead and gross was trying to get at them on top of the “detached fingertips”.
As they were coming up on the second chorus, she pulled both hands back down and put them on a panel instead, directing one of the repair-bots with their dozens of arms to dance to the tune, the lyrics printed on it's glowing screen that loomed up out of the dark.
She already knew what she was going to do with the bridge- it talked about disease and parasites, so she was going to yank body parts under the grate and "bite" them with needles full of weak general anesthetics from the first aid kit. She didn't need to actually like, poison or paralyze them, the imagery from the song would make their minds do that for her.
Except-- the thunder of movement, out of sync with the music, headed back up the catwalk at an honestly dizzying speed, and suddenly it was absolutely quiet except her, the repairbot who had now started the fix the plasma damage to the walls, and the music on the ship speakers.
Poking her head up from the nearest access hole, the pirates were gone- with the exception of one, who'd been hog-tied with their own tentacles and blinded with their Captain's hat. Left as a sacrificial offering to the monster for leading their crew into a deathtrap, probably. Well, Jazz didn't want them to think they were too hasty and come back...
She bared all her teeth in the widest, meanest grin, including her sharper-than-normal canines, and whipped the pirate's hat off, the light of the repairbot's torch illuminating her from behind in only brief flashes.
"Buried what I thought would die, don't got no alibi, I buried it," she sang at the alien's horrified face, "I FUCKING BURIED IT!"
The pirate's scream was a noise she couldn't have replicated in a million years. Yeah, driving it home was a good idea.
"RUN! AWAY! RUN FOR YOUR LIFE, THE MONSTER'S ALREADY INSIDE! THOUGHT IT WAS DEAD! AND GONE! BUT I WAS SO WRONG cuz it had been so long and life went on thought it was done I never thought I'd live to see THE DEAD WALK!"
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"I still don't think you needed to render the enemy so terrified they entered an involuntary coma state," the Captain scowled at the human crewmate, who was slung sideways in her work chair. Again.
"It's not like I knew their species can even DO that, Cap! Besides, it was a bloodless battle that successfully repelled the enemy, right? And we haven't been bothered by pirates in that entire sector since!"
The Captain squinted angrily with all their eyes.
"We're a terror-tale in that sector now," they replied flatly.
"Wait, shit, did I accidentally Flying Dutchman our ship?! Aw fuck, Captain, I’m sorry."
The Captain sighed- finally, she understood the gravity of the iss--
"If I'd known that was gonna happen I'd have picked a better song! Dead Walk is kinda underground, how are other ships supposed to lean on the legend with an obscure Earth song?"
The Captain gave up and left to go drink their 400-year old heirloom spirits. They had never worried they were going to be the Onelle to finish off the 'drink in case of headache-inducing disaster' bottle but it looked more likely by the day.
Song: Dead Walk by RedHook Note: the remix featured here doesn't actually exist because I can't make it. Will update and link if that ever changes!
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[ * 𝗠𝗘𝗧𝗔 ] : 𝚆𝙰𝚈𝙽𝙴 𝙵𝙰𝙼𝙸𝙻𝚈 𝚁𝙴𝚂𝙸𝙳𝙴𝙽𝙲𝙴𝚂, 𝙶𝙾𝚃𝙷𝙰𝙼 𝙲𝙸𝚃𝚈. the totality of the w.ayne estate is not to be understated, t.homas and m.artha upon their death left b.ruce with an immense and exorbitant fortune with more assets than any one person could possibly hope to maintain, quite a few of them in property. as the executor of the w.ayne estate, however, it IS a.lfred's responsibility to maintain those assets, a task that has continued long after b.ruce's majority. while a lot of these have been provided for use by the city in charitable ventures, there are a few that are or have come to be maintained as residences for the use of the family. 𝗛𝗘𝗥𝗘 𝗔𝗥𝗘 𝗦𝗢𝗠𝗘 𝗢𝗙 𝗧𝗛𝗘𝗠 ( long post ).
𝗪𝗔𝗬𝗡𝗘 𝗠𝗔𝗡𝗢𝗥, 𝗕𝗥𝗜𝗦𝗧𝗢𝗟 𝗖𝗢𝗨𝗡𝗧𝗬 - 𝗡𝗘𝗪 𝗝𝗘𝗥𝗦𝗘𝗬 ( 𝗘𝗦𝗧. 𝟭𝟴𝟰𝟵)
* HISTORY : while most of its legitimate history remains unknown to the wider world, the w.ayne family has maintained extensive historical knowledge and maintained oral tradition about its inception. one of the oldest dynasties in g.otham's history, the w.ayne family have been on g.otham soil since before the first bricks were laid. solomon z.ebediah w.ayne settled in the early 19th century in g.otham township with his wife on land his father charles arwin w.ayne had purchased for pennies, and soon after achieved his appointment as a federal judge. his younger brother joshua t.homas w.ayne followed his brother's move - acting as head of the family estate and managing the many enterprises cropping up under the w.ayne fortune as collectively they assisted in the construction of g.otham proper (the majority of these in shipping). through this business they increased their already considerable wealth ... considerably, and acquired additional acres and acres around the township, the bay and out into bristol county. in 1840 solomon became the financial benefactor of cyrus pinkney, a prominent architect and enthusiast of gothic style architecture. while others described his style as an 'ugly monstrosity', he was commissioned by the w.aynes to expand the infrastructure of the township with the hopes that one day it would be a city of prominence, and much of the oldest buildings in the city bear his marks.
before the a.merican c.ivil war both solomon and joshua were committed and operative abolitionists, and assisted with the construction of a section of the underground railroad using caverns that they further excavated under their land in b.ristol county. to avoid suspicion for their sizeable activity and movement in the area, solomon commissioned cyrus to build a grand g.othic mansion on the landholding - and thus, W.AYNE MANOR was drawn up and construction began in 1849. joshua became incredibly active in his assistance to the railroad, and this ultimately led to him being fatally injured in 1860 by bounty hunters following the trail of escapees that led to the outskirts of g.otham. joshua w.ayne managed despite his injuries to make his way to the then unfinished estate and was found dead in the cellar. it is believed he preferred to die quietly rather than risk tarnishing their family name through connection with criminal activity should he seek medical attention for his gunshot wounds, should their involvement with the railroad be discovered - protecting his brother and his position in power and the longevity and potential of their involvement.
following joshua's death the construction of the manor was placed on hold both out of grief and the fear that the the grounds were haunted, and cyrus passed a few years after resulting in a complete stall on the process. over a decade later the truth of joshua's death was discovered by happenstance and solomon revisited the plans. the manor was not completed until 1884, with solomon's son alan w.ayne (founder of w.ayne enterprises) facilitating the completion of the project. in keeping with the legacy of its construction, a number of secret passageways into the caverns below were built into the foundations - a secret kept and maintained only by the w.ayne heirs, with kenneth w.ayne being the first child born and raised at the estate.
* ARCHITECTURE AND DESIGN : the manor was constructed on a carefully selected plot of land, a conservative 400 acres in the hinterlands of b.ristol county. it was heavily influenced by the g.othic revival movement of the 19th century emanating from europe, stemming from cyrus pinkney's studies in britain. the manor itself is an impressive three stories with vaulted ceilings and two parapets nestled atop a steep incline. set two miles back from the road, it boasts a pair of baroque style beech wood double doors standing at a height of 12 feet, beyond which is a stately entryway with an antique thomire chandelier imported from france and a grand split staircase dominating the room. this staircase served as inspiration for that of the g.otham university library.
covering 28,000 square feet the manor houses 19 bedrooms, 12 bathrooms, three powder rooms, three dining rooms, both an indoor and outdoor swimming pool, a parlor, a receiving room, two separate lounge rooms, a library, an attic that covers two wings, a staggering 34 fireplaces, a large conservatory and a palatial ballroom alongside other general amenities. since the 1960s it has undergone extensive renovation under the stewardship of a.lfred p.ennyworth, with adjustments including the addition of a home theater room, the conversion of various rooms into studies and lounges, material and appliance upgrades and a conversion of what were previously the stables into a garage. the manor is divided into wings, with the north and the west wings as the family wings, the west wing for entertaining and the south wing for receiving and guests.
the sprawling estate features four main gardens, a greenhouse, a large hedgemaze, a small lake, two separate fountains, a largely unused chapel, two storage buildings and a guesthouse currently occupied by mister pennyworth (SEE THE CRANE QUARTERS). the grounds have taken to the house, with climbing ivy having overtaken a marked portion of the west and south walls. additionally, the caverns beneath the estate are home to the b.atcave, built over a number of years under direction from b.ruce wayne and with the assistance of both a.lfred and l.ucius f.ox. under a.lfred direction the manor has become a far homelier place than it was even in b.ruce's youth, with his hopes to maintain a place where the family can gather and be safe, warm and welcome.
𝗧𝗛𝗘 𝗖𝗥𝗔𝗡𝗘 𝗤𝗨𝗔𝗥𝗧𝗘𝗥𝗦, 𝗪𝗔𝗬𝗡𝗘 𝗠𝗔𝗡𝗢𝗥 (𝗘𝗦𝗧. 𝟭𝟴𝟴𝟮)
the crane quarters were built upon the grounds as an accompanying guesthouse, as with the prominence of the w.ayne family it was believed that extended stays of friends of the family and other important guests would require a separate residence so that they would not be disturbed by the ordinary comings and goings of the house. built in a similar gothic style as the house but with more restraint, the quarters sit on the north side of the property and are tucked away beyond the gardens with a view lake. with two bedrooms, two bathrooms, and a study in addition to typical facilities - it is a beautiful and quiet retreat from the main grounds.
in the years following b.ruce majority during his extensive travels, a.lfred moved himself from his bedroom within the manor to the quarters in a need to maintain distance from the empty monolith that is the manor. since b.ruce's return and the subsequent acquisition of the b.atfamily by various means, he has taken to residing between the manor and the quarters while attending to his duties as butler and retainer. should one find themselves visiting the manor unannounced or while in conflict with b.ruce or the family, the crane quarters is the ideal place to bed down, should a.lfred allow it.
𝗧𝗛𝗘 𝗣𝗘𝗡𝗧𝗛𝗢𝗨𝗦𝗘 : 𝗪𝗔𝗬𝗡𝗘 𝗧𝗢𝗪𝗘𝗥, 𝗢𝗟𝗗 𝗚𝗢𝗧𝗛𝗔𝗠 - 𝗡𝗘𝗪 𝗝𝗘𝗥𝗦𝗘𝗬 (𝗘𝗦𝗧. 𝟭𝟵𝟰𝟳)
construction of w.ayne tower was halter prior to WW2 with w.ayne enterprises focused on their business ventures and assisting with the production and transport of goods, products, weapons and medical supplies to the warfront. in the aftermath of the i.ndustrial revolution w.ayne enterprises expanded under k.enneth w.ayne and his sole heir p.atrick w.ayne into a variety of industries to great success. the land was already home to what was then a private medical research facility, built also by cyrus pinkney - the facade and features of this old structure were maintained and the additional floors and facilities added for the tower, including 28 stories in a more contemporary style that was built to allow for additions, renovations and upkeep as it carried w.ayne enterprises into modernity. in 1965 t.homas wayne proposed the movement of w.ayne enterprises to a brand new standalone skyscraper, with w.ayne tower to be converted for the purposes of providing additional space and resource to the city - becoming the headquarters for the w.ayne foundation. additional space was converted to office buildings for non-profits, various charity spaces and in a number of entertainment spaces for events including some that cover multiple floors.
the top four floors of w.ayne tower were converted to residential space to be accessed by a private elevator, and became a private penthouse space for the exclusive use of the w.ayne family. built in a brutalist style, the penthouse was similarly kept relatively simple in architectural detail to allow for upgrades over time. this was last overseen by a.lfred in the early 2000s with a mixed bag of clean lines and extensive glass with organic fixtures, with touches of natural stone, a variety of wood and natural elements mixed with the extensive glass. seven bedrooms, four bathrooms and a powder room, a large open plan living, kitchen and dining area overlooking the city and an expansive entertaining area featuring an infinity pool - this penthouse apartment is an ideal refuge for any of the family.
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