MarinaNova Asylum

[ Option one: Queen Bee. (potentially sexy) ]

[ You find yourself inside a giant beehive, honey dripping thickly from the walls. There’s the occasional bee buzzing around, head like Anubis but they don’t seem to be paying much attention to any intruders. Should you venture further into the hive you’ll eventually enter a pie shop with furniture made up of cheese and rotting fruit. Chuck is waiting behind the counter, clad in a saran wrap dress and not much else. ]


[ Option two: Agatha Christie eat your heart out. ]

[ Someone is dead. Murdered in cold blood or perhaps by way of scratch-and-sniff or deep-fried in their own secret chicken recipe. Maybe you did it. Maybe you saw it happened. Maybe you’re in the morgue already, staring at a dead body with a girl next to you who looks on with expectation. ]

[Dream One]

[You find yourself in the cockpit of an X-wing. Luckily this is a dream and you somehow seem to know how to pilot it as you swoop in towards a dogfight. More X-wing and A-wing squadrons are fighting TIE fighters while a larger Star Destroyer and a Corellian Corvette pound each other with laser canons overhead. Your wingmate's voice crackles over the comlink, and if you glance out your window you can ever spot the familiar figure of Ton Phanan in the ship next to you.]

Pretty. What do we blow up first?

[Dream Two]

[Its a pilot lounge, giant windows offering a picturesque view of the sunset over the planet city of Coruscant. There's a group of pilots at the bar relaxing and laughing. No matter how hard you might try to listen in you can't quite seem to make out their stories or jokes. There are tables scattered throughout the room, and Phanan sits at the one in the farthest corner with a Bothan, a Mon Calamari and a dark haired human woman. They're dead, all three of them, although you can't say how you know beyond the chill it sends down your spine. The ghosts of dead Wraiths, and one living cyborg nursing a drink as he stares out the windows at the traffic flying by.]

1))
[ The rooftops fly by in a blur of colours, the click of the rooftops underfoot. The robes he wear are bleached white, and the sun is beating down on the red and beige houses around him. There's no reason for him to be running and jumping, there's no guards chasing him, no target in sight. It's pristine, almost, perfect, Firenze in all it's glory. ]

2))
[ There's no alarms blaring, no emergency lights, and it coats the white hall in darkness. There's panicked breathing, the sound of someone's footfalls in the distance, echoing down the corridor. Everything is dark and perfect, but there's an anxiety in the air, like something has been stolen. And very maybe it has. ]

[001. In It Alone]

[You did something They didn't like. Maybe you started putting facts together, figured out there was something fishy going on in the company. Maybe you rallied against some of Abstergo's company policies for the sake of the public. Maybe you worked for them and realized you were being asked to do some things you didn't feel wholly comfortable doing. Or maybe you were just in the wrong place at the wrong time and witnessed something you shouldn't have; a conversation, an argument, a murder. Or maybe they mistook you for someone else.

So they went after you. They're either surrounding you this very minute, in which case you better start running if you notice something is amiss. You'll get a phone call if this is the case, from an anonymous number that is insistent until you pick up. But if you don't manage to answer in time, they will haul you away into their little white van to whisk you off and away.

But she'll help you. Don't worry.]

[002. In It Together]

[They caught you, you're in the van and you're panicking because you don't know who they are or where they want to take you. (Unless you've clued in and realized it's Abstergo, they're not just a public face but something much darker.) And she's there too, sitting in the van with a scowl and her arms bound behind her with zip ties. She's not the guiding voice this time but another captive, but that doesn't mean she's about to sit back and wait for them to make the two of you disappear.

She looks over after the doors close, and the van starts up. Quiet:] How loose are your hands?

[003. Bang Bang]

[You're in the middle of a dark warehouse, the only lights being three hanging bulbs in a row overhead. It's dank and musty and there's nothing but shadows and cold outside the realm of the light on the concrete. There's a figure, dark and without a face, pointing a gun at you. Demanding you put your hands up and say you'll come with Them, and give up the files you're holding. Tell them where the safehouses are.

Whether you're an Assassin or not, they seem to think you know the Brotherhood's secrets. And they're determined to get them out of you one way or another.]

[004. Shaken or Stirred?]

[The room is bustling with fine clothed aristocratic members of society; there is a waltz playing, or maybe just a man playing requests at a grand piano. Crystal chandeliers, bubbly drinks and laughter echo off every wall. Wealth just about drips from the rich tapestries and paintings on the wall and the diamonds around women's necks. Among them all is a man or a woman, your target who you have to tail. Whether you have to kill them or lift something from them, you have to keep them in your sights for the night to go well.

But you're not alone, a woman in a red dress off to the side is working with you. Helping you get in and out, the two of you are well trained in how to handle this. You're not nervous, are you? Don't worry, she's heading over with a glass of champagne in hand.]

[005. Somber]

[Before you stands a thick metal door with only a slit to look in at the room behind it. A number is inscribed in the front along with the Abstergo logo; the company that uses this dark and dingy hallway in one of it's 'research' facilities to house people of interest. Prisoners of worth. Should you look in you'd be surprised to see the room isn't dark at all, light panels line the floors and walls, humming a gentle white light. It is the complete opposite of darkness, an invading light that never fades.

There is a bed. And on the bed is a woman, in a white tanktop and jeans. She's curled up to try and shut away the light, the sound of silence and the utter swallowing panic of loneliness.]

[ It's silent.

That's the most immediately-noticeable thing about the surroundings, poorly-lit as they are; something seems to have interfered with the sun so that the crumbling cityscape's cast in a sickly red-black hue. No wind stirs the streets; no cars move, rumble, honk, or screech. It's a ghost town where the ghosts lack voices.

Scattered here and there are what once were, most likely, human beings; that, or someone forgot to dismantle the world's most eerie statue exhibition before everything went all apocalypse. The faces on every frozen figure vary depending on the person, but each contain at least two warring emotions: dismay and fear. Whatever happened here, the people saw it coming - but couldn't act in time to prevent it.

Neither could you. And neither could the person standing next to you, head up and expression even stonier than the actual statues dotting the streets, craning her neck as if hoping she can still sense something in this silent, still, too-cold and too-barren world. If the cuts of your miniskirts weren't so martial you'd both look really out of place in this grimdark urban wasteland.

But nope, this is the Bad End. Have fun with that, ruffles and all. ]

[[ ooc: Feel free to either have your character think they're a native Soldier of Haruka/Sailor Uranus's world complete with silly magical girl powers or else be totally out of place. Either way, since this is Uranus's dream, she thinks that both 1) she's actually here in the ruins of her hometown and 2) you belong here, too.

Also, you can't see them yet, but there will be monsters. :) ]]