Test Drive Meme # 1

[hadrielmods]

Welcome to Hadriel's very first test drive, and thank you again for your interest in the game! As always, our reserves page is here, and our applications page is here! Reserves open September 24th, and Apps are open October 1st.

Two quick points here as well:

1. Any thread made in Hadriel's test drive will be accepted as the sole Action Log sample in the application.
2. All threads made in the test drive can be considered game canon!

Test drives will be broken up into specific god mini-events, during which your characters can see how well they fare under the watchful eye of one of the gods. Choose wisely or just simply pick 'em all, and have fun!

F E A R

SCENARIO ONE: ANYONE GOT A LIGHT?
[The Door brings in all that is chaotic and evil in the world. This may include you, may include the person next to you... and may include the monster behind you.

Watch out as you explore the streets of Hadriel, because you're not alone, and there's always something on the rooftops watching and waiting for the perfect opportunity to separate you from your group and tear you into pieces. In this instance, the door has managed to grab something truly horrific, and it's definitely out for blood (and brains) tonight.

Smokers are enemies in the video game series Left 4 Dead, who use their prehensile tongues to capture unwitting people and either drag them away for consumption or hang them up to strangle them. With all of the activity of characters trying to find out what's going on and where they are, there are more than a few of them, lingering in the shadows and waiting to try strike at anyone who may be lagging behind.]


SCENARIO TWO: YOUR HEART WILL GO ON
[You awaken in a windowless room, the walls strangely curved. The door, when you try it, is quite firmly locked. No amount of force is able to break through, so it seems to be sealed by supernatural means. Next to the door stands a slender pedestal, about as big around as a large man's thigh. At the top of the pedestal is a indentation, as if something were meant to go there.

But you're not alone in this room. There are two things with you: a person and a corpse. Pinned to the body is a note: Place a heart on the pedestal to leave. Tucked neatly into the corpse's pocket is a letter opener, small and not particularly sharp.

Did you have weapons or tools on you before? You don't now. But look at it this way: what better form of bonding is there than helping a friend or stranger dig a heart out of a corpse with nothing but a letter opener and your bare hands?]


H O P E

SCENARIO THREE: HAVE YOU HAD YOUR BREAK-IN TODAY?
[You're standing outside a storefront, colored glass set into intricate designs. It's beautiful, artistic, but more importantly - there's definitely food inside. Good food, too, by the glimpses you can see through the window. In fact - wait a minute - isn't that your favorite dish in there, just waiting for you? You've been searching for food for hours, it seems, and the city is bare. Your tummy is getting awful rumbly. What luck!

You try the door. Cruelly, it is locked. The food taunts you, just out of reach.

The glass is lovely, intricate, but it's just glass. Or maybe you know how to pick locks. Or maybe there's a back way in. Or maybe some passing friend will be able to help you. There's a lot of options here, if what you really want is a mouthful of the finest... whatever it is you like.]

Comments

TWO

[unitas]

[ The note had made it clear they weren't about to walk out of the room until a few ribs had been cracked, and so Sharon hadn't bothered to assist Nick in his desperate attempts to escape. She didn't scream, or shout, or bang her palms against the thick walls, instead she dreaded what they had to do.

It wasn't an easy thing to get a man's heart from his barred chest, tough even with the proper tools, and that piddly letter opener wasn't good enough to cut your wrists with, let alone break through a man's rib cage.

She watches as he stalls, dark brows knit tight beneath her bleached hair. He didn't want to do this any more than she did, but the dead man was their key, and she honestly didn't want to be trapped in this small room with it much longer (not that she hadn't been in much worse situations, but this wasn't exactly her idea of a good time).

Finally, Sharon stands, and crosses the distance between them, looking down at him and the body. ]

You want me to do it? [ There are stains on her white leather vest, dark spatters that may be old blood. It's possible she's done this before, or something similar--or worse. ] You don't have to.

[worldofshit]

[ Nick has had blood and dirt and grime and all manner of filth on his clothes - which often, as now, weren't even his clothes - more often than not, and considering where he came from (beginning of the zombie apocalypse in Los Angeles, and where he'd been, homeless living in abandoned places and consorting with drug dealers) the last thing on his mind was the blood on the girl's clothes. Even the fact that she was pretty and reminded him of Gloria, before his last image of Gloria was what he hasn't quite figured out to label yet as 'ravenous dead girl glare.'

He takes another sharp breath through his nose. He needs to learn to adapt. He didn't get the chance to prove he could defend himself or his family or be useful with the shotgun they'd taken from their neighbor's house. But he could learn. Maybe whatever he became able to do here could carry over and help his family back home. And he did have to try to get out, closer to home. He couldn't leave them awake and wondering like Dad had. ]

I can do it. I-I just... Is this even sharp enough? And where do you go in? [ Obviously he should have gotten over that freaky buzzing noise and played more Operation as a kid. He pokes at a bit of flesh over the heart. ]

Here? Or...more to the side?

[unitas]

I don't think we can get through the ribs. [ She replies as she settles to the floor, feet tucked beneath her, opposite to Nick on the other side of the body. It made her stomach roll lightly to think what he would have to do to reach the heart, and she wondered, with the way his hands shook, if he'd even be able to.

She swallows, and licks her lips. ] You'd have to start... [ Sharon hesitates, and then presses her fingers against the dead man's sternum; she follows it down, and when her next press receives no bone resistance, she pulls her hand away quickly. ] There.

[ Cut through the flesh, go under the ribs, and pull out the heart.

She's suddenly very glad he turned down her offer. ]