Hello Inscryption fans it's me, an Inscryption fan!!
This fandom is still pretty new, but uh
Stupid writers gotta be stupid writers, so i have something for you all! Its the first part/chapter of a fic!
It's an AU, but real quick we just gonna say the entire games gonna be spoiled here, so if you haven't finished Inscryption, please do so before reading this.
Also might post this on a03 if y'all like it? I know my own follower base is p small but hey, uh, why not? Also, for those of you on computers, I'm sorry if the formatting is wack, I'm on mobile.
Also I'm calling this AU playtester AU for a reason you will all see later.
Currently tw for: swearing
Okay!! I'll stop rambling, here's the fic!
[Recovery process initiated]
Luke's head had never hurt this bad before. He could probably count the number of major injuries he had in his life on one hand, so there wasn't much competition, but this was definitely the worst pain he'd ever been in.
The pressure seemed to push on his eyes, somehow, like the aching pain bouncing around his skull was pushing out everything in its way of escape. He put the palm of his hands against his eyes, rubbing until the pain behind them dissipated enough to put his hand on his forehead, blinking away the static-like spots that clouded his vision, his headache fading slowly.
Which, unfortunately, brought Luke to another question - where the fuck was he? As his eyes adjusted to the low light, he could tell there were trees around him, though it wasn't a part of the forest he was familiar with. They seemed to have a pattern, a subtle rhythm to the woods that only fueled his headache. Worse than that, though, was the darkness, stretching around him.
Luke staggered to his feet, hoping to see his beloved camera around him - no dice. He was quick to turn to his pockets, but found them empty. Letting out a heavy sigh, he muttered to dead air "great, well this is just incredible. Guess I'm going to run into a bear out here and die or something."
His words, of course, garnered no response, but with enough talking to a camera, that's something you get used to. Without any idea where he was going, Luke set off, trying to search his scraps of memory to figure out how the hell he could have gotten this deep into the woods.
It had been last night he had finished Inscryption the game, watching the game files delete them in front of his face. He expected most people would call bullshit, but he had the entire thing recorded on his camera. Luke had every intention on putting the entire playthrough everywhere, as well as suing the hell out of GameFuna. There was something wrong with that game, sure, but knocking on his door day after day? Breaking into his house? What the hell kind of company does that, on top of having a game that openly controlled your computer?!? He would make sure it all went public, and..
Luke was startled out of his thoughts by the loud cracking of a stick breaking under his shoes. His head snapped upwards, and he could see the clear outline of a path in the woods. It stretched out quite far, but at the end, he could see the light shining from a small cabin. Finally, some hint of civilization, took long enough. Luke was just about ready to put a call into the police department, get home, and get something done to these fucking people at GameFuna.
The trail stretched much longer than it originally looked as he walked it, the creatures of the forest buzzing and calling in the night. The sounds felt familiar and safe, and Luke found the melody of the forest soothing him as he tried to offset the strange, building feeling that he'd seen this cabin somewhere before. And yet, the more he stared, the more Luke knew he'd never been to this part of the woods, and he'd never faced a cabin such as this himself. At least, outside of horror movies and games, it was quite stereotypical looking in that sense.
Finally, after what seemed to be far too long, he reached the front of the cabin. To the left, he could see a small river trickling through the land, a stone bridge reaching over. To the right, he could see a path leading to a lake, the moon reflecting off the watery surface.
The cabin itself wasn't much to look at, worn down wood stretching around the exterior, with old fashioned curtains blocking his view of the inside. A chimney reached into the sky, nothing billowing out of it. The door was as old and wooden as the rest of the cabin, and he worried that knocking itself might damage the old thing. However, Luke's desire to go home was greater than that of preserving an old door, so he reached his hand up to knock anyways.
No one replied. After a couple of seconds, he tried again, calling, "hello?" Into the night. Once again, no one responded.
Luke sighed. "Oh, shit.. come on, someone answer the door." He growled at no one, trying once again to knock. No reply to his knocks came, though. And after a few minutes, Luke knew that for the time being, at least, he was stuck out here.
"Might as well make the most of it." He muttered to dead air, heading to the small stream on the left, wondering if there could possibly be anything worth checking out in the area. However, he didn't get far before a loud growl froze him in place.
To his right, a mangy mutt glared at Luke, teeth bared. It's growl was low, full of anger and intent. Without a doubt, this thing could tear Luke apart.
"Now, now puppy.." he didn't appreciate how his voice shook, stepping backwards. "It's okay,, I'm not here to hurt you, hey.." His words only caused the hound to let out an ear splitting, guttural bark, Luke defensively raising his arms to block an attack.
"Damn gunnit you old mutt, down!" A voice called, a thud sounding not far from Luke's feet. Opening one eye, he could see the dog was now contently munching on a bone, an angry looking man with a pickaxe storming towards the pair. Luke stepped back, taking a bit of a defensive stance as this man carried something that could definitely split Luke's head open, despite the man's smaller stature.
"Now, what are ye doin' here?" The other man raised the butt his pickaxe to Luke's face. "Ye don't look like a challenger!"
Oh, this was probably the cabin owner.. that made more sense. Luke let out a small sign of relief.
"Oh, I'm sorry, I didn't mean to trespass, I'm just lost. Would you happen to have a phone I could use to call for some help?"
He shook his head with a chuckle. "This place ain't mine, but If I were ye, I wouldn't rely on Leshy bein' awake! Sleeps like a rock!"
Luke felt his heart skip a beat, trying to rationalize what he'd just heard. It was probably nothing, he had to be logical.
"Well, uh, do you happen to have a phone, or know a way into the cabin."
"Oh, door's unlocked!" The man replied with a chuckle. "Jus walk right in, he won't mind!"
Luke nodded. Though breaking and entering wasn't a personal passtime of his, guess you've gotta adopt new hobbies every now and again.
"I see, thank you." Luke tried to keep his tone even, despite his heart beating out of his chest. "I'll be doing that now."
The other man nodded. "If 'e complains, jus say the prospector let ya inside!" And with that, the prospector walked off.
That did not help Luke's heart rate.
The door creaked on old hinges as Luke quietly swung it open. The interior of the cabin wasn't well lit, and Luke found himself wishing once again he had woken up with a flashlight.
A small candlestick was by the door, only one candle on its two prongs lit. Luke took it in his hand, admittedly afraid of surveying the room. However, a grunting sound alerted him to the figure in the corner before he even had a chance to look around.
The candlestick slipped from Luke's fingers.
Staring back at Luke were two spiraling pupils, eyes incomplete and enticing at the same time. It felt like all time froze, Luke's feet glued in place as the candlestick fell to the floor with a loud clang, extinguishing itself.
Neither spoke for what felt like hours, until finally Luke found his voice once again.
"You aren't real." Was the only thing that came into his head. This couldn't be real, not in a million years. And yet, those familiar eyes stared back at him.
That seemed to get a laugh out of the old photographer, a bit of a broken one. "I'm quite real, as far as I'm concerned. Are you?"
Luke felt a weight on his chest seemingly lift, and he laughed. This situation was ridiculous, impossible, unfathomable. And yet, the eyes on him didn't waver, and didn't laugh along.
"I'm not sure anymore, honestly. Man, what the *fuck*?!" The answer was honest, a bit brutally so. Luke felt tears tugging at his eyes, his mind begging for a logical explanation to why he was facing a character he'd seen in the game he'd dug up in the ground, the game that took over his PC, the game that knew his name, the horrible, cursed disk.
Leshy didn't have a response to his laughter, rather, when Luke was done laughing, he spoke up with an invitation.
"Would you like to play a game?"
Luke wiped the tears forming at his eyes.
"You know, why the hell not?"
26 notes · View notes
My Big Bang Job hot take is that we talk so much about Eliot's shootout and pretzels that we overlook the train. Which, don't get me wrong. The shootout is Very Important and Very Worth Talking About and Pretzels is...well. It's Pretzels. But, the train scene is hugely important, in the moment and later on.
At the same time that this is happening:
This is also happening:
Literally at the same time. Eliot's firefight is inter-cut with Parker and Hardison working on the bomb.
It's a heartbreaking and tragic scene for Eliot, but it's not just about Eliot. He's making a choice to use guns to kill other men with guns-some of whom he used to work with. It's huge. But he's not making the choice just because they're shooting at him. Eliot is making this choice because this is his part in taking down Moreau. And Eliot always, always does his part so that the rest of the team can do theirs. Eliot is trusting that Nate is going to get the Italian to safety and stop Moreau from leaving. Eliot is trusting that Parker, Hardison, and Sophie are going to find the bomb and prevent it from being used.
This moment is about the team working together and towards the same goal, even though their tasks are different. For every body Eliot tallies up, we see Parker and Hardison deciphering the stakes of what could go wrong if they don't diffuse the bomb properly.
Sure, both scenes are important to the storytelling and moving back and forth between the two means that the rising action/peak/falling action all kind of happens simultaneously, so from a mechanistic point of view, it's really just sensible.
But because we keep switching back and forth, we get to see Parker and Hardison take on this big, dangerous, literal explosive, concurrent with Eliot using guns to kill people.
And of course you have Parker watching Hardison, seeing him make plans (not just decisions) under pressure. She's looking at him and seeing that he's there in this moment with her, willing to put himself at huge risk just to protect the world around them.
There's two episodes that this points to, for me. Both of them, coincidentally enough, involve trains. And getting on them (or not, as the case may be). Hmm. Funny, that.
Up first, The Gone Fishin' Job. Eliot watches Hardison make the decision to put himself at risk to stop the militia. Eliot was going to get Hardison to safety and come back, but Hardison said no. Hardison said they couldn't wait. Hardison walked back into that camp with a cigarette and half a plan.
Eliot wants Hardison safe, and he knows Hardison isn't one for violence and danger...but Hardison is ready to face that fear for his own safety in order to stop the militia. And anyways, he's got Eliot by his side.
The Gone Fishin' Job happens before The Big Bang Job, but not by much. What this means is that Eliot knows Hardison can be trusted to take on these physically dangerous threats. (oh shit is THIS that moment that Eliot comes back to when he says he and Hardison will go see Moreau? fuck that's another meta entirely).
Parker doesn't get to be with them in this episode. She's the one that has to do her part on her own. She doesn't get to see Hardison make the decision.
(bonus screen cap b/c oh look, what's this? a train and Eliot disarming a guy with a gun? what a coincidence)
AND THEN. Then you have The Rundown Job. (brb gotta cry for a minute).
Okay. The Rundown Job. Every other scene is these three making the decision to stay. Making the decision to save one person. Then, making the decision to save the world. At great risk to themselves.
There's something about that. Something about the three of them saying, over and over again we are the people who are here and we are the only people standing between the world and vast destruction.
Eliot knows they'll take the risk because they've taken the risk before (oh, goddamnit, we also have to rope in The Inside Job. fuck, alright I'm not doing a whole section on that. Suffice to say, Eliot has seen Parker make the decision to put herself at risk in order to protect both a singular person (Archie) and then the population as a whole), but at first he pushes back because he is afraid for them.
Then of course it goes back and forth. Eliot realizes he needs Parker (I do [know why you bring a cooler to a robbery]) and Hardison (you gonna punch the screen?) in order to find the terrorist and stop him. But Hardison gets cold feet because this is much bigger than he realized.
Parker doesn't really get to that point. She's ready to walk away when they've handed the gunman over to the authorities, but when it becomes terrorism? When she's presented with the task?
Like any other job, she says. She's on the train.
There's this parallel, you see, to The Big Bang Job. When Hardison says "he's on the train and we're not" and Parker says "I am."
They've done this before. Big scary bomb on a train? Parker and Hardison need to defuse it, and there's a gun that Eliot needs to address at the same time? They've got this. They've done it before.
Also, in a very clear parallel, Hardison is able to limit the damage with what he has on hand (including his own knowledge), but he needs Parker and her tools properly shut it down.
(And here, I realize I've lost the plot. I was meant to be talking about the train scene from The Big Bang Job, but I was about to go down a rabbit hole of The Long Way Down Job, because this is the moment where Eliot and Parker look at each other and know that this is where they come in. They can handle danger and loss in a way that Hardison can't. Of course, this points us right back to The Big Bang Job. This isn't Hardison having to leave the dead husband behind. This is when Hardison has stepped up. He's there, he's kneeling over a bomb, figuring out how to stop it, but this time the answer is just out of reach.)
I've maxed out my images/post, and got thoroughly sidetracked, but my point is in here somewhere.
Parker and Hardison disarming the Ram's Horn bomb is something we should talk about more.
494 notes · View notes