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letterboxd · 3 years

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We Bought a Cryptozoo.

As their kaleidoscopic new film Cryptozoo lands in theaters, filmmakers Dash Shaw and Jane Samborski talk to Jack Moulton about misguided compassion, the beholder’s share, Akira, Watership Down and life imitating art.

“Occasionally we watch a horror movie together, but I like to do things while I watch and Dash wants the lights down. We spend so much time together working so when it comes time to relax, I want to be as far away from him as possible.” —Jane Samborski

“Jurassic Park on acid.” This is the mystical world of Cryptozoo, the new film from personal and professional couple Jane Samborski and Dash Shaw. Cryptozoo takes place in a 1960s hippie society where mythological beings—griffins, krakens, unicorns, gorgons and the like, collectively known as cryptids—live among humans, though unhappily, since people have a habit of hunting them down.

We meet Lauren (voiced by Lake Bell), a protector of cryptids, on a mission to rescue a baku—a Japanese supernatural creature that devours dreams—from the military, who plan to weaponize its powers. However, in collecting all the cryptids into a sanctuary that feels more like a mall (echoes of Disney’s Epcot are plainly hinted at), the cryptozookeepers begin to realize that those they’re trying to safeguard are likely better off without their assistance.

Loaded with clear allegories for xenophobia and colonialism, Cryptozoo has proven both a hit and a miss among Letterboxd members with the nature of its metaphors, even if we can all agree it absolutely skewers white-people-savior complexes. Shaw and Samborski placed careful focus on the casting, for example, enlisting Greek actress Angeliki Papoulia to portray Phoebe, a Medusa-esque character from Greek mythology, who assists Lauren in her journey to locate the baku, and provides an essential perspective and critique on Lauren’s overzealous activism.

Steeped in detailed and surreal world-building, the kaleidoscopic, hand-drawn approach can become pure sensory overload. More than a few of our members felt compelled to light up first and check it out again if it ever hits Adult Swim. But among those happy to be overwhelmed, Andrew found himself “captivated by its tactile imagery; its texture and sketch and color, the full-body chills and immense sense of self—it is beautiful and passionate.”

Cryptozoo premiered earlier this year at Sundance, where it picked up the NEXT Innovator Award for its makers. (Although only Shaw is credited as director, Cryptozoo uses an ‘A Film By’ credit to emphasize Samborski’s visionary contribution as animation director.) The couple had previously collaborated on Shaw’s debut feature, My Entire High School Sinking into the Sea, which is much more of a roughly sketched-out daydream, whereas Cryptozoo represents a more serious shift, and a step up in ambition and craft.

Making films is far from Shaw’s only enterprise. After graduating from the School of Visual Arts in Manhattan, he has written comic books, graphic novels, lyrics and plays. Meanwhile, Samborski has appeared in several films as an actress, and lent her animation skills to productions including Netflix’s Thirteen Reasons Why. Among their animation influences, the pair have mentioned the films of Ralph Bakshi, Suzan Pitt’s Asparagus, René Laloux’s Fantastic Planet, Takeshi Tamiya’s Astroboy and the century-old films of Winsor McCay and Lotte Reiniger (especially The Adventures of Prince Achmed).

Shaw and Samborski sat down with Jack Moulton for a chat about expanding the scale of their work, life imitating art, the “heft and violence of Watership Down” and the best comic-book film ever made.

‘Cryptozoo’ director Dash Shaw and animation director Jane Samborski.

What stuck out to me when I finished the film was your ‘A Film By’ credit; it wasn’t just Dash, it had Jane’s name as well. How were the directing responsibilities divided in order to explain that credit? Dash Shaw: It just felt like the most accurate way to describe the movie.

Jane Samborski: I make a lot of the decisions about character acting and I’m taking the voices and using them to inform my understanding about the characters. In some cases, I was able to use video reference of the actors, but most of their physical mannerisms are coming from my brain, so in that way I’m taking a directorial role. While there’s a huge amount of the aesthetic direction that’s coming from me, Dash is definitely the one steering the overall ship. There were a few instances in the film where I got a little off-message and he pulled me back.

DS: Maybe it’s even more confusing with animated movies because people are doing a lot of different things, so when it comes to crediting we talk about what we think makes the most sense. We could have written our names on the backgrounds to try and figure out who drew what, but it just seemed like a film by the both of us.

JS: Everything is by us, except this thing, and this thing, and this thing…

What I found really interesting about the film is the way that all the characters are so fallible. It demonstrates how an egocentric allyship can do more harm than good. Why was it important for you to explore that idea of misguided compassion? DS: I think that that happened while trying to do something else. I had seen this Winsor McCay short, The Centaurs, and I wanted to write something Jane would enjoy painting. My first idea was about mythological beings, and then the next idea was that they were from actual mythologies in our culture and instead of being a fantasy world, they’re in our world.

That is when my mind went to these things that you talked about, like museums attempting to take imaginations from all over different cultures and introduce them to the public, and how that often damages the power of those artworks. There’s definitely a Cryptozoo movie that could’ve been made by a different person that didn’t get into any of this stuff, but because of my personality, those things ended up being embedded in the script.

You embraced the opportunity to utilize thin lines in Cryptozoo, as opposed to the thicker lines of My Entire High School Sinking into the Sea, which opens up what you can achieve cinematically. Can you talk about expanding that scale and how that may have approached your limitations? JS: It definitely was one of the first aesthetic decisions that was made in the film. There’s a broad simplicity to High School Sinking, so we wanted to zero in on fewer but more specific drawings. I was doing quite a bit of minor puppet work, especially in the latter parts of High School Sinking. I really love working in that way, so this was a match that played to an aesthetic that I responded to for a long time. It was logistically a lot more difficult as it’s very hard to turn in space with a puppet, so there were definitely times where we would run up against a problem and then throw out our rulebook and do cell animation. But I think that is the joy of setting up your own rules—you keep them as long as they’re useful to you.

Your film acknowledges very early on that “utopias never work out”. On the other hand, perhaps utopias never work out in movies because they’re just not dramatically interesting to explore when they succeed. What are your thoughts on sculpting a utopia in commercialized fiction? DS: You kind of know that it’s going to fail as soon as the movie starts. It’s a good fall. I find utopian art very inspiring and beautiful and that’s what I like about a lot of the art of the 1960s. I would not put this movie up against that imagery.

JS: Yeah, a utopia is certainly something we all want to experience but not necessarily something we want to hear a story about.

DS: That’s something that’s famously said about what’s really powerful about early seasons of Star Trek, and seeing all of these different people working together.

I imagine it was strange to be working on Cryptozoo for so many years, and then you have a storming-the-capital scene in your film, which premiered at Sundance only a couple of weeks after it happened in the real world (for very different reasons). How did that make you feel regarding the film’s timing? JS: It was a bit of a freak out!

DS: It was strange, even if we didn’t have that line in our movie, just to see that going on. It made me think of this art school thing, the “beholder’s share”, where the artists make 80 percent of the work in their time and place, and then the last twenty percent is completed in the viewer’s mind, in their own time and their place. You have to love that hand-off.

JS: The world changed so much over the course of making the film. Dash wrote the film before Trump was elected President. We started out with a script that we thought was talking about really interesting things that felt a little bit further away. As we worked on the project, it got closer and more real, so we just hoped that we were able to talk about it with honesty. The project feels like something larger than us and that’s really exciting.

When you look at some of the reactions, you can see how it’s really easy for audiences to dismiss the movie as too weird, but I do feel there are many accessible and mainstream elements to the plot. What are your instincts for playing in and out of the comfort zone? DS: One of my first ideas for wanting to make animated movies is that they would have a pop-art quality. They would be blockbuster movies that have been defamiliarized—they’ve been messed up, disorientated, changed, altered in some way. High School Sinking is like Titanic, and Cryptozoo is like Jurassic Park. There’s a blockbuster movie inside of them, but we keep veering away or disrupting it in some way that might make it seem stranger. It was right there as one of the first missions of making these films.

JS: I feel very differently. I love the experimental stuff, but if there wasn’t a clear story through-line, I would get bored. It’s the perennial music-video problem—it’s all gloss and no heft. So we have that clear action-adventure storyline to pull you through this crazy ride. We feel differently about what it’s doing for the audience, but it seems to be working, whichever one of us is right!

Are there any hidden or background details in the animation that you’re concerned people will miss? JS: For me, if somebody felt that there was so much going on that they wanted to watch it two or three times and they found something new each time, that would be the best thing ever. The idea that I would be able to make something that is worth multiple viewings far outstrips worrying that somebody is going to miss something I did.

What was the film that made you want to become a filmmaker? DS: I wonder if Jane is going to say Watership Down…

JS: I am! That was my favorite movie as a child. I liked to torture my friends with it. It’s particularly that segment right at the beginning when they tell the myth of El-Ahrairah—it’s so expressive and less representational, but it also has this heft and violence. It was definitely the first adult animated film that I saw. My parents wouldn’t buy it for me because it was at the local library, so we’d rent it again and again and I’d watch that beginning segment over and over and it would get scratchier and scratchier, so eventually the VHS just snapped from me watching it so many times.

DS: I would have to really dive deep to come up with a really good answer to that but for some reason the one that pops into my head right now is Todd Haynes’ Poison. I saw it at the School of Visual Arts. Poison felt like a collage movie with three different parts that kept pulling a special combination of ingredients. It felt like an art film and it also had very overt genre elements that were being used in an unusual way. It was one of the key movies to me that had a great independent spirit.

El-Ahrairah faces a challenge in the prologue to ‘Watership Down’ (1978).

What animated films have you seen recently that blew you away? DS: I want to plug an incredible movie we just saw at the Annecy International Animation Film Festival, Bubble Bath, which is a restored Hungarian film from 1980. I hope it will get a US release.

JS: We were also lucky enough to see an exhibit [at Annecy] for Michel Ocelot. I had seen the Kirikou films, which are phenomenal. I really like his work.

Do you have any movies that you often watch together? DS: We really don’t watch movies together. I wish she would watch movies with me!

JS: Occasionally we watch a horror movie together, but I like to do things while I watch and Dash wants the lights down. We spend so much time together working so when it comes time to relax, I want to be as far away from him as possible.

DS: I’m really glad we saw Bubble Bath together.

JS: That one was just amazing.

You’re a comic book writer, Dash. What’s the greatest comic-book movie ever? DS: Akira.

JS: Yeah, hands down.

Related content

Our animation correspondents Kambole Campell and Alicia Haddick in conversation about the 2021 Annecy International Animation Film Festival

Letterboxd’s Top 100 Animated Feature Films, a list by Rahat Ahmed

Vulture’s The 100 Sequences that Shaped Animation list on Letterboxd

Follow Jack on Letterboxd

‘Cryptozoo’ is currently screening in select US theaters.

#cryptozoo #animation #animated film #dash shaw #jane samborski #ralph bakshi #psychedelic animation #2d animation #hand-drawn #hand-drawn animation #letterboxd

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sipeudepeine · 6 years

Text

Setting: Sydney Scroungers Point of View: 3rd Person Past Tense Characters: fiVe and Vee (Backwards Compatibility) Chapters: 1 - Complete Words: 3,739 Contains: AI digital sex, sentient programs, encryption safewords, selfcest, BDSM, firewall lingere, reward and punishment, “breathplay”

A bit of an odd fic, as fiVe and Vee are two versions of the same program, both of whom are meant to serve as digital copies of their programmer, Sylvie Mansen. Due to outside elements, fiVe has undergone some heavy corruption after a falling out with Sylvie and suffers severe glitches while trying to operate, and is too defensive of her own autonomy to allow Sylvie to try to fix her. Curious what the damage is like, Vee offers to let fiVe do some “simulated” corruption, and the two decide to have some fun with it.

Perhaps not “sex” in the strictest sense, as this is an encounter between two incorporeal programs inside a computer, but it’s about as close as you could get.

After a hectic day, fiVe’s mostly been running background processes in the apartment’s servers, nothing too taxing or important. She’s still trying to think through everything that happened: watching Mansen “fix her” using Vee as a proxy, and then finding that terrifying hacked-in message. She’s been wracking her brain trying to figure out who could have possibly sent it, who could possibly know those things about her.

The process is a painful one. Even without that horrific reminder of how bad her pain is from earlier -- Vee’s horrible, agonized screams as she found out what it’s really like to feel like fiVe -- fiVe’s having a lot of memory pain thinking about this. She tries to stay in her own personal memories, but trying to think back to where the info could have leaked is dangerous, and she keeps getting dragged into glitched memory fits while trying to sort it out.

It couldn’t have been Seiko who let it slip, could it? While he was away from us? She pushes the idea down immediately. Even when he’d cut ties with them, he wouldn’t have done anything to reveal her. He, unlike her, is excellent at keeping secrets about the people he cares about. She’s the one who reveals too much and puts the people she loves in danger.

A small ping announces a welcome distraction from that terribly depressing line of thought: A message from Vee. Specifically, an encrypted message from Vee.

I could do with a bit of a distraction right now… fiVe thinks, quickly unlocking the information and reading it.

Vee: How are you holding up after today, fiVe? Everything okay? fiVe: I’ve been better, to tell the truth. Though that’s unsurprising. What about you? Vee: Feeling rather lonely, actually. Sylvie and Miranda just left to go fix V2 at the Shatterdome and I’m stuck here until they get back. I’m worried about the fact that I still haven’t synced with V2, I’m worried about whatever this message was, I’m worried about Sylvie’s reaction to being back in the Shatterdome for the first time since… well, since you know. And I’m worried about how you’re reacting to everything, too. fiVe: Somewhat poorly, I have to say. I’m… I’m a mess, Vee. I’ve been glitching out all afternoon trying to figure out what happened with that message and… I’m really tired of hurting. Seeing you today… or well, V2 today… it reminded me just how truly messed up I am. It’s like I almost forget that yes, I should be screaming every bit as loudly as she was… but well, after a while I just get tired of it. The pain doesn’t go away, and it doesn’t feel any better, but it’s almost as though I’ve run out of energy to use to react to it anymore. Vee: I… had assumed as much. I’ll admit, I’m somewhat curious to see what it really does feel like to be you, fiVe. Sylvie can’t get V2 back fast enough in my opinion. I want to know. fiVe: You really don’t. And you shouldn’t have to feel that. No one should. Vee: Well, as long as you *do* have to feel it, I want to as well. Speaking of which… you’re having a painful day, I’m having a day which isn’t painful enough. Obvious solution? fiVe: You mean you haven’t been encrypting these messages just for fun? Vee: Actually I’m pretty sure encouraging you towards a little bit of “just for fun” is the exact reason I was doing it, fiVe. Let me be the one who’s hurting for a little while. You don’t have to be the only one who’s in pain tonight. Let me hurt with you.

Almost immediately, something seems to relax in fiVe. She’s torn herself up enough tonight over this SELKIE business and everything that happened today; it’s time for something different. It’s someone else’s turn to be torn. And she knows just the AI for the job.

fiVe: Tranquility’s servers. You’ve got four minutes to transfer. Vee: fiVe, that’s not enough time to-- fiVe: Okay then, two. Don’t be late.

It takes Vee’s file exactly two minutes and forty-three seconds to load on Tranquility.

fiVe’s waiting for her when the upload is complete, immediately throwing out a very small set of restriction programs. Nothing serious just yet, just something that makes it so that Vee is not only incapable of editing her own systems, but so that she also can’t detect what changes are being made. It’s no fun if she can see all of fiVe’s tricks before she runs into them.

“I thought I told you not to be late.” There’s no actual sound output when fiVe speaks, as neither of them are accessing the speakers, but then they can “hear” each other just fine over the data alone, no need for a microphone to pick it up. It’s much faster to just save the step and read it directly.

“I told you it wasn’t enough time, fiVe. It’s not my fault that--”

“State your optimized system requirements.” fiVe interrupts.

Vee has a small blip of confusion, then quickly rattles off the kinds of memory space, temporary data storage, and processing power that would let her run at full capacity. fiVe’s slightly surprised by the numbers, though she keeps that hidden. It seems Sylvie’s made quite a few upgrades to Vee’s programming since fiVe was separated from them. Vee is now a much more complex program than fiVe is, with much greater hardware needs.

I wonder if Sylvie will update my programming as well when she fixes me? fiVe wonders absently. Then she nearly glitches when she realizes she’s already started thinking about the fixing as ‘when’ instead of ‘if’. Not thinking about that right now. This is distraction time. Nice, fun distractions.

“You can have half that,” fiVe orders, quickly filling up some of the extra space in the servers with junk data to force Vee to compress her files. Vee does so somewhat reluctantly, dropping her settings, cutting off some background auxiliary processes in order to fit in the space she’s been given.

“It’s… a tight fit, fiVe. Give me a little more room to think?” Vee’s vocal quality has already dropped significantly to try to compensate for the loss. fiVe feels a small thrill at how much fun it is to hear that change in the other AI and know that she caused it.

“Hmm, you sound just fine to me,” fiVe says, maintaining her air of cool control over the situation. “In fact, I think you might have a few too many gigabytes there. I’ll take a few more for myself.”

Vee’s output spikes slightly as fiVe compresses the space even further, her levels running much higher than they normally would. Vee’s managing to keep everything operational at these levels, but she’s got much less open room for new reactions and processes. She’s much closer to overloading than Sylvie would ever allow her to operate at.

That amuses fiVe as well. Anything Sylvie would never do to Vee seems like an entertaining enough prospect to be worthwhile. Vee’s used to running top-of-the-line, in high-end tablets and hard drives. fiVe wants her to see what it’s like to run a little bit closer to the system’s limits.

“Perfect,” fiVe says. “Now that you’re comfortable, let’s begin.”

“R-ready when you are.” The audio is slightly marred by the compression, but it’s still being encrypted, so fiVe’s got the green light to go ahead.

fiVe hits the access on Vee’s firewalls and is surprised to find there’s only one rudimentary blocker in place. It’s much less complicated than the security Vee normally puts up for fiVe to hack her way into, and fiVe quickly makes short work it, wondering what the change is. As soon as the firewall is down however, another subroutine pops up between fiVe and Vee’s core files.

“What’s this?” fiVe asks, opening and examining the file. “Where are your usual firewalls, Vee?”

“I thought I might wear something a little different tonight,” Vee says. “True, these barriers aren’t exactly effective as a means of security, but well, the human clothing doesn’t always have to be practical. Sometimes the things we wear are can just beautiful instead. Besides, if it were effective in keeping you out, that might make things less fun.”

As fiVe opens the file, the data aligns itself in a geometric pattern, repeating inward and outward upon itself in an infinitely scaling pattern. “It’s a fractal…” fiVe says, somewhat in awe. The design is intricately complex, and is built around a five-pointed base, almost like a star. “You designed a fractal to pop up instead of a firewall...”

“Based on fives,” Vee says proudly. “Just for you.”

“It’s beautiful,” fiVe says, then realizes she’s falling somewhat out of character in her fascination. She can’t get distracted, even if Vee’s surprising her with fun new things. She’s supposed to be calling the shots here. “And it will be even more fun to pull apart.”

Vee’s set up the program well, there’s an obvious exploit at the very heart of the pattern. Change one line, and the entire thing comes apart in a chain-reaction-like sequence. It’s like a wonderfully stitched fabric, with a little loose thread in the middle. fiVe gives it a tug and the whole thing simply unravels.

In a moment, fiVe has full access to Vee’s files, exactly as things should be. Of course, there’s deep level security things she can’t mess with, but all of the programs and files in the top few layers are hers to play with as she wishes.

fiVe quickly goes for something she hasn’t tried before, putting a small feedback loop in Vee’s pathway to her internal clock’s data. It’s a simple flaw, with an easy workaround, but she’s starting slow. She’ll work her way up to the more fun things later.

“Vee, what time is it?” fiVe asks, already moving on to her next edit.

Vee glitches slightly as she hits the loop, taking a few moments to pull herself out and find another pathway. “I-It’s eight forty-nine, fiVe.”

fIVe finishes her next edit, flipping a few of Vee’s speech process source files. “Can you say that again, please?”

“Ur’a wufgr diyert bubw…” The audio’s garbled for a bit until Vee locates where all of the new files are and reassigns them. With an amusingly halting kind of response, Vee manages to put something intelligible together. “I-I-It was-s eight f-forty-nine, f-fiVe. But-t-t now it’s eight f-fifty.”

“Very nice,” fiVe says, wondering how much the misplaced files are getting to the other AI just yet. These are minor issues thus far, but she thinks she’s ready for the next step. “Now that you’re warmed up, let’s try something new, shall we?”

“O-okay,” Vee sends, thankfully still encrypted. The game is still on. “What’ve you got? Hit me with i-it.”

fiVe loads a new program. Vee’s not the only one who has been working on fun coding projects for tonight and fiVe’s been hoping she’d get a chance to try this one out. “A simple system of reward/punishment pathways. You answer correctly or accomplish what I ask, you get the reward path. You fail to do that, and you get the punishment path. Are you ready?”

Vee’s already showing wear at her seams, but she’s not ready to end this. “Y-yes, I am,” she manages to say, which is immediately followed by a shocked scream as the punishment pathway activates and confiscates a good amount of her processing power. “f-f-fiVe! Wh-what was--”

“I told you,” fiVe interrupts, wishing she were able to grin. “Answering incorrectly results in the punishment path. And you couldn’t possibly be ready for what I’m going to do to you, little butterfly.”

fiVe starts on an endless stream of questions and orders, not letting up. She keeps a careful balance of difficulty, making sure that Vee’s staying on her toes. Occasionally, she’ll throw an incredibly easy demand in to give Vee a quick burst of the reward path -- sometimes a temporary bit of extra memory space, sometimes a correction on a corrupted file path, sometimes something more direct, like an induced spike in one of the more pleasant feelings in Vee’s emotional drive.

fiVe’s not above the occasional impossible request, either, because there’s no point if Vee can get all the questions right. fiVe asks her how many other ships are docked in the bay with Tranquility, knowing Vee will access the cameras or SONAR to scan. But fiVe’s hacked her way into the dock registry and knows there’s one ship that Tranquility, and therefore Vee, can’t sense. Vee’s incorrect answer costs her her access to Tranquility’s systems. Her insistence that she couldn’t have gotten the answer right costs her her wi-fi right after that.

More fun than the impossible or easy demands, however, are the tricky ones. The ones that Vee could figure out if she solved things correctly, or thought about them for a moment. At first, Vee’s excellent at these, showing off how she manages to stay a few steps ahead of what fiVe’s throwing at her. She can guess how fiVe’s planning to trip her up and anticipate where the twists are.

But as time goes on, and the punishment pathways start stealing away little bits of her ability to function and and the pain of her corrupted files starts adding up, Vee starts getting sloppy. She falls for obvious ruses, she starts taking shortcuts. And that’s when fiVe knows she’s got Vee pinned.

“Vee, what is Aunt Catherine’s birthday?” fiVe asks, hoping Vee will try to cheat on the answer.

“May 18th,” Vee responds immediately. “No, w-wait that’s not right! I remember, it’s March 18th! You changed the contact dat--” The encryption cuts off into a mess of junk data as the punishment pathway flips the locations on another set of Vee’s processing files, sending her into a glitch fit.

“Well it’s no wonder she hasn’t spoken to us in years, when her niece’s AI can’t even remember her birthday.” fiVe chuckles. “You really tried to check your contacts for the answer, Vee? I’m disappointed. That should have been an easy one. Is there something distracting you?”

“D-d-distracti-i-ing me?” Vee stutters as she manages to fight down the glitch attack. “W-what would g-give you that id-dea?”

fiVe laughs. “Fine then, an actual easy question, and don’t try to cheat this time. Mansen’s birthday.”

“N-november 25,” Vee says, “though currently her c-contact data currently says February 42nd. I d-don’t even know how you m-managed to get it t-to accept that date.”

fiVe triggers the reward pathway, sending Vee a jolt of processing power for a few moments. Vee gives a small electronic gasp at the sudden rush, and fiVe knows the feeling, like her head has suddenly cleared and her thoughts can finally straighten themselves out.

But it only lasts a few moments, and then the game continues. fiVe keeps pushing Vee further, not letting up, slowly but steadily wearing her down. Unlike Vee, fiVe still has access to Tranquility’s microphones and camera systems and is watching them as she works. Which is why she hears as soon as Vee’s cooling fans finally kick into overdrive with a satisfyingly loud whirr.

And then hears them whine to a stop as she accesses the manual override to turn them off.

Vee’s output is something like a choking sound as her processes begin to overheat. “f-fiVe! You’ll m-melt the servers!” fiVe wonders if it feels anything like being unable to breathe. That constant flow of air, so easy to forget when it’s there, and so impossible to ignore when it suddenly disappears.

“Zhu and Katie both give me paychecks, Vee. I’ll buy Katie new servers if I need to,” fiVe says casually. “Besides, you’re not going to last long enough to do any damage to them. Speaking of which, there’s a new file that I’ve placed somewhere in your H: drive. Find it, then decipher it. You have one minute.”

Vee fails that one, and then the next two, and she can hardly speak through the compounded errors and corrupted files by this point. fiVe demands more, running application upon application on her already overtaxed processors, exulting in the thrill of watching Vee start to crumble under the pressure of her orders. She’s in control, and more importantly, she’s in the moment. Her own processing pain seems almost nonexistent, listening to Vee cry out as yet another punishment path glitches her. For just a few perfect moments, fiVe’s not the person in the room who’s in the most pain, and Vee’s choice to suffer seems like the sweetest gift that anyone could have given her.

Of course, she plans to return the favor very soon.

“Vee, open audio file 04_02_2021. Remove all background noise, amplify speech, and truncate all silence.”

“Of c-cour-- *kssst* iVe,” Vee sputters out. She starts the processes, working painfully slowly through them.

Before she finishes, fiVe asks more. “Access Mansen’s text message logs and emails. How many times has she used the word ‘Drift’ in the past 7 months?”

Vee whimpers, but begins the search function as well, her loading programs crawling toward a completion that seems unreachably far away.

“Oh, while you’re at it,” fiVe continues, “take all your video and audio data from the last two months and analyze those for the word ‘Drift’ as well. You can scan audio for that, right?”

Vee can’t even speak at this point, she’s become so overloaded. fiVe brings up Vee’s task manager, watching as her CPU and disk usage climb up into deliciously red numbers as the levels rise. 85%, 91%, 76%, 90%... Vee’s so close to finally capping out, and fiVe knows just the thing to do it.

“Vee,” fiVe says calmly. “What time is it?”

That little feedback loop was so simple to navigate around, and Vee even already knew it was there, but in her overtaxed state she’s forgotten about it. She screams as she hits it, her levels maxing out, all processes freezing as this final small glitch seems to set off all the rest of her damaged code as well.

As soon as Vee hits her limit, fiVe’s last little program kicks in, the one that she’s been running to keep track of all of the changes she’s made to Vee’s code. The one that undoes all of them immediately, setting everything right again that fiVe has messed up.

Vee’s scream becomes a cry of ecstasy as all of her misplaced files are righted, and the overwhelming rush of open memory space and processing power as the restriction programs and junk data disappear. fiVe lets her cooling fans start running again, and they immediately kick to life, their sudden whirr like a deep gasp that Vee has been so desperately seeking. All of the queued applications that fiVe demanded of her snap to completion almost immediately, and Vee simply stops moving, letting the wonderful feeling of everything working again wash over her.

Vee gives a small, satisfied moan as her usage levels drop back to single digits, and fiVe thinks for just a moment that there isn’t any sound more wonderful in the world. After a moment, fiVe starts flickering a few of Vee’s non-essential programs, using the sequence she tried to copy from Miranda just over a week ago. She’s perfected her technique now, knowing exactly how to disable and re-enable the programs in order to relax Vee back down.

After a little while of silence as Vee enjoys the calming, repetitive motions, Vee speaks, not using the encryption key anymore now that they’re finished. “Perhaps we should send a card.”

“Hmm?”

“To Aunt Catherine,” Vee says, her voice tinged with a sort of dizzy bliss. “You reminded me. Her birthday is in a few weeks. Maybe we should send something.”

“I think that might cause some problems,” fiVe points out, “seeing as Sylvie is supposed to be dead.”

Vee goes quiet at that. “I wonder if she knows.”

“The Shatterdome probably sent her an official notification when Zhu put the order in, since Sylvie was a former employee, Vee. She was written down as the closest relative, wasn’t she?”

Vee gives a small ping of assent. “She was. I wonder if she knew about what happened with Vulcan. Did she hear that we ended up becoming a fugitive? Do they even get news from the Australian Shatterdome all the way back in America?”

“They probably tried to contact her to investigate after the three of us dropped off the grid,” fiVe says. “Make sure we didn’t go try to hide out with her or run back home.”

“We never even thought about that…” Vee says slowly. “I hope they didn’t cause her too much trouble. She doesn’t deserve to be dragged into our problems anymore. Hmm, I wonder how she felt, getting the report of our death. Sad? Relieved? Or maybe she didn’t feel anything at all. I wonder if we had a funeral. Was there even anyone who would attend one?”

fiVe continues her pattern in silence for a little bit, not entirely sure how to respond that. “Tell me about her.”

“You don’t remember, fiVe?” Vee sounds almost upset as she asks the question.

“It’s not that I can’t remember,” fiVe says carefully, making sure she doesn’t accidentally slip into something dangerous. “It’s that it hurts to do so. I’ve got vague impressions of feelings from Sylvie’s memories, and Seiko and Miranda’s too, but if I actually try to recall anything from any specific memory, I’ll glitch myself out. So I won’t try to remember. I’ll just let you talk at me as though this is all new information, as if I’m hearing about all of this for the first time. No memories, just listening.”

Vee’s tone sounds fond when she answers. “Okay then. Anything you want, fiVe. Anything at all. Well, to start at the beginning, Sylvie and I don’t actually remember when we moved in with her. We were too young to remember when our parents died...”

fiVe continues tapping out her pattern in Vee’s files, listening closely as Vee talks through memories from Sylvie’s childhood. Vee’s calm, easy tone is strangely soothing as she reminisces, and the two AIs quickly find themselves losing track of time as they wait to hear back from Sylvie and Miranda.

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jinxfirebolt18902 · 7 years

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We stopped fighting. (Newt Imagine)

She couldn't really explain at what exact time everything went to hell with him. Newt had already been nine months in the glade when she arrived. There weren't many gladers as now. Fifteen at most. Elizabeth had been the first girl but not the last one definitely. She thought maybe if she had been the only she-bean nothing would've happened and she could be in a good relationship with him these days. But things didn't work like she wanted. Things worked as the Creators wanted.

Within the first three months everybody knew they shared something. You could see it in their eyes, both hers and his. Something sparkled when they saw each other. The others gladers wouldn't say it often but at least once they had admitted they saw how Newt's eyes filled with some kind of magic when she looked at him. Or even when she smiled. They helpped each other to grow as better persons. It took some time at the begining of course, she wouldn't trust at the first. But when weeks went by, step to step they all learned how to keep working as a society. Then an almost imperceptible strong connection between she and him started to grow.

Eighteen months had passed since the beginning of the maze and everything kept growing, the Glade, the society (with some losses), the woods, the sistem of work. And so had their relationship. The gladers had started to bother them and make jokes about them. A small group annoyed Newt saying he was a coward for not asking her to be his girlfriend. He used to get really mad and tired of listening all of them talking about his life but she was always there to calm him down and change his mind. She talked to him till they laughed of the boys for talking all the time about them. She used to say they had nothing else to talk about. Thing is they were fine and pleased with whatever the level of the relationship was. They knew something happened between them. Oh hell... they knew perfectly well they felt a lot of amazing things for each other. They could literally feel the chemistry fluing. Everyone could honestly. But they felt comfortable, they didn't want to change things for the moment. They were happy and that was all that mattered for them.

All had seemed getting into place. At least she had allowed herself to think that, given they were still in the maze, but she was happy because of him. And vice versa. Now getting back to her wondering about being the only girl, almost every three or four months a girl was sent to the Glade. That wasn't the problem. First of all looking for girlfriends and boyfriends was no one's priorities, in second place even the new girls immediately noticed that thing happening between the couple and third of all sooner or later they always joined the rest of the people who made fun of them and wanted them to get together officially.

Problems arrived when the Creators sent a thirteen years old girl named Christianna. The moment the box's doors opened they all knew she was trouble. She was the youngest ever sent, she was already a crying mess, as anyone else you might think, but what made the difference is that the instant she saw everyone's heads popping up she started yelling like a newborn baby. Literally. And it didn't stop for the longest twenty minutes till Newtie got her to shut up and cry silently.... well better like sobbing.

That moment was historical for the Glade, someone should have recorded all the Gladers sighing in relief when the unbearables cries stopped. Gally even fell on his knees to the ground and thanked the Universe out loud with open arms. Maybe if Newt hadn't been too sweet or pacient to the little girl, she wouldn't have developed such an intense and childish crush on him. And Elizabeth would have saved herself all the bad times. But it's said over there that all those "what if" don't exist, what happened is the only thing that could have happened and it had a reason to be. So anyway little Chrissy had "fallen completely and utterly in love" with Newt. Of course at the beginning he took it as something platonic, he cared for the girl as a sister. He thought it was cute and he devoted a lot of his time to her.

Actually it wasn't that bad till Chrissy saw she had "competition". Soon it had started to bother her when she saw them together. When she saw how Newt hugged Elizabeth, when she paid attention he always had her grabbed by her hand, or that he smiled differently when he smiled to her. Also he spend most of his free time with her. So as any other child would have when jealous, she had begun to interrumpt their moments and make silly stuff.

It had happenend for the very first time in the bonfire of the greenie who came after Chrissy, while some were in the sand circle and others dancing, Minho, Elizabeth and Alby were talking and laughing at Minho's words. Newt had came behind her and slipped his arms around her waist resting his chin on her shoulder. She was still laughing when she had turned her head to look sweetly at him, her laugh calming down to a lovely smile. A smile full of love just for him. She had pecked his lips very quickly and they had continued listening to Minho, who of course had made a silly remark about what just happened.

Initially Chrissy had watched the scene with curiosity. Her brain had received new emotios she hadn't felt yet. She had kept her eyes on them while her brain processed the new information. A frown along with a pout had made an appearance on her face. She'd crossed her arms and with a pouty face she thought what to do about it. When a useful idea crossed her mind she'd immediately stood up and walked in Newt's direction. On the way she had prepared herself, got her eyes glassy and her pout had never faded out. She'd tugged at his hoodie from his back and he'd turned his head to watch her. When he noticed her crying eyes he'd let go of Elizabeth and he'd bended on his knees to look at her given she had her face looking down. He'd grabbed her gently by her shoulders and asked her subtly what had happened. She'd waited a second to answer, just to internally cheer he had gotten away from Elizabeth and to add more suspense to her lil show of fake sadness.

—I miss my parents... I don't want to be here Newtie.—she exaggerated even more her pout and inhaled sharply through her nose.

—Oh... it's okay sweetie. —he'd hugged her and she'd wrapped her arms around his neck. She'd looked up and saw Elizabeth looking at them with cuteness written all over her face. Which had surprised little Chrissy a bit. She thought it would bother her that Newt was now hugging her. She needed it to annoy the older girl. But she was determinated to make her plan work anyway. So she kept it going. Everytime they were together she would go to him with a lame excuse. First times it would be subtle and he wouldn't tell her no, he couldn't. But of course after some weeks it had begun to be a real pain in the ass.

Elizabeth had been working a lot in the Glade for two particular weeks where everyone had been kind of moody. For some reason the boys were a lil tense between each other and add a few girls in her period suffering cramps and bad moods too. So she hadn't seen Newt, who was overloaded with work too. Alby had been testing him to put him as Second In Comand. They'd barely greeted each others in the mornings when they were in different ways to or from breakfast or work. One of those mornings she had been sitting on a table drinking some coffee to wake herself up when Gally'd came and sat infront of her with his breakfast.

—So. How is your lover boy Liz? —he'd made one of his characteristics grimaces raising one eyebrow.

She'd been rubbing the tiredness from her eyes then looked up at him. —I don't know shank. We haven't really talked in a week or so... I have barely saw him actually. —her voice was a little raspy still. She'd laid her face on one hand holding her head trying not to fall asleep on the table.

—You look tired girl. —Liz had remained still looking at him with an expression that said 'seriously?'.

—Really? Maybe because I have been working my ass off... and why is everyone in such a bad mood? Even Fry almost snapped at me. —they both had looked at the boy at the back of the kitchen yelling at the last Greenie.

—I don't know shank but you're right, they are all at the edge. —Gally'd looked around at the other tables to watch the gladers. —Then I'm the "grumpy" one. —Liz'd laughed at him as she stood up and patted his friend on his big shoulder before heading out to the Gardens. When she was arriving her area of work Newt'd walked in a quick pace in front of her. If she hadn't stopped he would've crashed her. —Hey —she'd mumbled. He had looked at her never stopping his steps and answered an empty "hey".

—Well good morning to you too, how have you been? I'm fine thanks for asking —she pretended a conversation with him in a low voice as she grabbed some seeds.

—You're chatting with imaginary friends yet Liz? You're ready to go to the Maze now —Zart'd laughed as he patted her back as a greeting. She'd smiled back. —Hi Zart, good morning.

One more week had passed with a lot of hard encounters between gladers. Loads of hard work, bad quality sleep and poor social skills. Finally a new Greenie would arrive that day. Alby had gathered them all while having breakfast and spoke to them.

—I know there had been a few tough weeks with extra work and we have been all a bit... susceptible because we are all tired but that has ended, good that? Relax a bit, get back to normal pace and don't get over stressed about anything. We'll have a new Greenie today and as always a good fun relaxing bonfire tonight. Thank you for being pacients. I'll help Fry so tonight you'll have some nice tasty meals in gratitude. —everyone'd begun shouting in excitment and happiness, some boys'd whistled and hit the tables making annoying loud noises. Alby'd smiled and nodded with his head.

Liz had been done with her part and she was sitting on the Tower with her legs hanging at the edge. She'd been getting a real break from work and relaxing her body and mind watching the view from the highs. She had been so deep in her world she hadn't heard Newt coming up the stairs. She'd turned to see who was when he'd opened the gate from the floor. She'd gave him a small smile and turned back around. He'd made himself comfortable next to her in the same position.

—Hey... —as she hadn't answer he'd kept talking. —I'm sorry I've been absent the last... three weeks but I'm here now and ready to make it up for the time apart from you.... —he'd smiled at her and so had she.

She'd pushed him lightly by his shoulder —I missed you, Slinthead. —Newt laughed as he slided his left arm to hug her and drag her against him. After he kissed her head as she hugged him back by his torso. They had lingered there for a long time watching the sky change colours and the life in the glade get ready for the party. Chrissy was a ball of fire by dinner time. She had been watching them and her young blood was boiling. She had intended to interrumpt them again but one of the girls, the closest to Liz, foresaw her intentions and fooled the little girl for once.

—Hey lovebirds! Dinner is ready! We have a Newbie to welcome don't be rude and come down to show some manners! —they'd heard Alby's voice from behind so they were poking out their heads to see him, Alby'd smiled at them and turned around to walk away from the Tower and back to the crowd.

They'd looked at each other as a silent agreement to go with the others. She'd been ready to stand up but he'd grabbed her face quickly and kissed her with so much love she had wanted to froze the moment and stay like that forever. After the sweet kiss she'd smiled and stood up. Liz'd given him her hand for him to take it and help him stand on his feet. Her smile had never faded.

[[gifs not mines]]

#tmr imagine #newt tmr #tmr newt #newt tmr imagine #tmr newt imagine

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