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Pokémon redundancies [oneshot]

Pen

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redundancies


o.

The Guildmaster’s fond of saying that it’s never one mistake that kills you. To hear her talk, it’s nothing more or less than your entire life that does it. Who you are and what you’re like, a series of choices that knock and collide until they bring you to the final point.

In that sense, it’s inevitable.

Maybe thinking like that comforts her, eases her guilt when something does go wrong. You used to think she was full of it. But now—you think, perhaps, she was right.

i.

You chose the mission. Tore it off the bulletin board, marched into your shared quarters and unfurled it like a flag.

“We’ll make Silver with this,” you said.

Nerry read it slowly, while you amused yourself by snapping your tongue in and out.

“Silver Marsh,” he said at last. “That’s too hard for us.”

“It’s a marsh; I’m a water-type. We can handle it.”

You don’t think you convinced him, not truly. But conversations with Nerry are a matter of attrition. It went the way it has always gone: you said that you were going and he came too.

ii.

“I’m hungry.”

Nerry’s voice is hushed, half-apologetic. You’ve just come through the sixth stairway. You resist looking back: the thing behind you won’t be a stairway any longer. You don’t last long as an explorer unless you make peace with that illusion.

“We’re almost there,” you say. “Have an apple.”

“No more apples. And no berries.” He shakes the bag forlornly. “I looked.”

“We brought seven. One for each floor. We’ve only had four.”

His horns droop. “There’s none left, Kay. I think we should go back.”

“No,” you say loudly. The wet air sucks in your voice and dampens it. “It’s fine. Come on.”

iii.

Three rooms later, you hit a monster house. You can sense it the moment you step inside: behind you, something is severed, disjointed. Ahead, there are a dozen gleaming eyes. You’re hit, as always, with the illusion of equilibrium. Maybe if you stayed motionless, so would they. Maybe it could go on like that forever.

You’ve never waited long enough to find out, and you don’t this time, either. Your water pulse shoots through the darkness. Everything spills into motion.

You see better than most in the dark. You weave between two lombre, knocking them back with short bursts of water, coming in close with your tail while they are disoriented. The moist air is invigorating. You could do this for a very long time.

“Kay!”

You finish with the lombres and turn to find Nerry cornered. For once, you're too slow: by the time you reach him, he’s fallen on the ground.

iv.

“Okay,” you say. Your voice is wonderfully calm. “You’re hurt and we don’t have berries. You won’t make it through, so you have to go back. But I can finish it. There’s just a little bit left.”

“Don’t do this.”

“It’ll be for the best. You’ll see.”

He tries to argue some more, but you are firm. In the end, he hugs you and says, “Take care, Kay.” The rescue badge flares white and yellow. He’s gone.

You begin to walk. The waterlogged earth is pleasant against your feet. The next room is empty, and your spirits rise. You begin to hum. From habit, you reach up to fiddle with the badge around your neck.

And that is when you understand your last mistake.

v.

Panic, in your experience, is a varied sensation. Bright and stabbing sometimes, sometimes still and cold. You begin to pat along the ground. The cord around your neck was made from tangela sinew. A cord like that doesn’t snap without warning. That’s a fact, and it doesn’t change the other fact: your neck is bare and the ground is empty.

You backtrack, even though it isn’t pleasant. The layout doesn’t change, but the rooms do. You go anyway. Something flashes in the corner of your eye, but when you come closer you see that it is just a strangely luminescent moss, pulsing neon green in the murky light.

Your panic turns hotter. You need to think.

There are stories about explorers who lost their badges. Those stories tend to be brief and uniform in their endings.

Your options, then. Reaching the end won’t help, not with your badge gone. You might get there, but you wouldn’t realize it. The distortions that bridge the outside world are only observable with the psychic assistance of the badge. Going forward isn’t any better than going back.

Stay put. That’s the protocol, as if you’re a child left behind in a crowded square. Stay put and wait for rescue. Nerry will know something is wrong after a few hours if you don’t show. A gold team could clear this dungeon in less than three hours, you’re sure. Five hours, you decide. The number may be arbitrary, but it grants you the illusion of control.

vi.

For the first hour, you’re on edge. Every shift in the flow of the water has you tasting the air with your tongue, but nothing enters the room and nothing leaves it. The stasis slowly draws you into a stupor. You curl up behind a clump of reeds.

There’s not much else to do, so you think about the past. You think of Nerry, your protector and your playground, your friendly giant. You climbed him and hid behind him and rode between his horns.

You told him, cloaking your nervousness with bold assurance, that the two of you would be explorers, the best in the world, and your heart nearly burst when he met your gaze and gave a solemn nod.

You applied together, a ridiculous pair. One dopey heracross, one wide-eyed sobble. Nerry carried the combat admission test, while you handled the oral examinations. You always complemented each other in that way.

Because Nerry was slow. He counted slowly during hide and seek, slow enough that you always had time to find places he could never find. Growing up, you never minded his slowness. In fact, it comforted you. On restless nights you tallied it up: Nerry knocking back your playground tormentors with his horns, you explaining to him the convoluted rules of sticks and apricorns. It balanced. You slept well.

Nerry was slow. When did it start to bother you?

vii.

Time is hard to track here. But some time must have passed, because the darkness begins to relent. You can make out more and more of your surroundings: the sleek growths of reeds, the shoots of blue iris, poking up like paint brushes, the golden moss. It’s beautiful.

The feeling crept up over time, you suppose, like dusk or like dawn, but the first time you put a name to it was shortly after your evolution.

Evolution—that marvelous day. It was like being born again, being born better. Your body had always been an awkward, stubby thing. You moved and fought in spite of it. No longer. Simple movements became delightful. You spent long hours in the training room, continued even after Nerry shuffled over to the benches to rest.

It occurred to you, then, that another evolution lay in your future, but that Nerry would never evolve. This was all he would ever be.

Yes. That was when it started.

viii.

Maybe nothing would have come of it, except that one evening as you were leaving the training rooms, you caught voices. You could have kept going when you realized the conversation was private, but you didn’t do that. You stayed put.

It was Team No. 134, the Dungeon Skaters. They were silver rank, but everyone said they’d hit gold in another year. You’d collaborated with them once as part of the mentorship program and been struck by their professionalism, their silent teamwork.

It was Magary speaking, the vaporeon. “I don’t want to let the team down,” she was saying. “But it’s been two months since I told you. I can’t put off the move forever.”

“We know. It’s just so hard to find a replacement. Everyone suitable’s already been paired. Can you wait a little longer, until the newest wave of bronzes come up?”

That’s how you learned that the Dungeon Skaters needed a new team-mate, and not just that—a water-type. The thought ate away at you as you slowed your pace each morning to match Nerry’s, bit back your frustrated remarks. You saw two futures, two paths. One, slow and plodding, with Nerry at your side. Making silver, but likely never gold. Or—a path that led steeply upwards.

The choice was easy; the only issue was the execution.

Completing a mission in Silver Marsh would elevate your ranks, if you finished. If you finished, but Nerry didn’t, you’d move up and he wouldn’t. It wouldn't be hard to arrange. You handled the packing; you were the one who brought off the nick-of-time rescues. All you had to do was be a bit too slow. The split wouldn’t be anything personal. He’d have to understand that.

You weren’t children any longer. And Nerry, dear Nerry, was redundant.

ix.

At this point it dawns on you that you aren’t in a room anymore. You’re not sure how you could have ever made that mistake. There aren’t walls, passages, or entrances here. The marshland stretches out around you, uncontained. Within it, the fog gathers and disperses, an endless canvas of swirling rivulets.

A memory returns to you. A new kid in town, a marill. She sought you out for swims, showed you secret dips in the creeks and ponds. You remember Nerry waiting by the bank as you played, standing there for hours, his eyes never leaving you.

Once, you tired of this constant observation. You swam to the bottom and waited, until five minutes became an hour. The bottom of the pond swirled with silt and mud, but as you crouched there, the sediment settled. The water was a clear and riotous turquoise. Light from above performed acrobatics for your entertainment. At long last you surfaced, pleased with yourself.

Nerry was there. His bulbous yellow eyes locked onto yours.

“It’s late,” he said in a tone you couldn’t read at all.

You avoided his gaze, caught-out, ashamed, and something else, a feeling you never named because it had never made any sense to feel.

You feel it now.

x.

The fog is starting to clear. You look up, expecting to see the sun—because it’s bright in here now, so bright your eyes are beginning to sting—but there’s nothing in the sky.

He’d hugged you, hadn’t he? His claws had scraped lightly against your neck.

As a sobble, you’d coveted those claws. You’d wanted his sleek armor, his sharp edges—you wore them so much better.

What had he wanted? He’d never said, but you suppose you’ve always known. The marill’s family had left a few months after they came. No one had explained why, but Mother had told you afterward to stick close to the house and not to wander.

The marsh is far too bright. You push your face into the soft earth to shield your eyes from its brilliance. You are thinking about stairways, thinking about the need to believe that one thing leads to another, explains it. But they aren’t really stairways. Maybe there aren’t really choices, either.

“Take care,” he’d said, and his claws had scraped against your neck.

The rescue won’t be coming. So you lift your eyes again. It’s still terribly bright, but you don’t mind so much anymore. And you see now where the light’s coming from.

Yes. You see it all.
 
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Negrek

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This is a wonderfully creepy little fic. The double-crosser double-crossed. The emotional progression was very well done here, I thought, from panic through fearful hope through the final revelation and acceptance. And the emotional progression is really what the story is about, so I think it worked out great!

I enjoyed the description of the dungeon environment, too. A beautiful but sinister backdrop for the slow horror story unfolding as Kay paged back through their memories. The detail of Kay not wanting to look back because the stairs would no longer be stairs but instead something else is my favorite… Just so wonderfully creepy. The brief scene at the river struck me as well for its atmospheric beauty. I’m not entirely sure what the shifts in the dungeon towards the end are supposed to indicate—Kay getting absorbed by the dungeon, perhaps.

Kay and Nerry make an interesting pair, don’t they? Nerry in Kay’s recollection here comes across creepy even when the memory is positive, his patient, quiet staring and the feeling she has about him but refuses to name… And then there’s Kay, for whom “the choice was easy” to leave her supposed long-term friend in the dust in pursuit of Gold Rank. Never in any of her contemplations here does she show any regret over her own deception, only her mistake in underestimating Nerry. Kay definitely likes to think of the two of them as very different, but I’m not sure I buy it. Would the choice also have been easy if Kay had decided the way to get ahead was to get Nerry lost in a dungeon rather than just sending him home early?

Don’t feel like I have a great deal to say about this one. I think it’s a solid story that well accomplishes what it sets out to do, and I enjoyed reading it.
 

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Hi Pen! This is my catnip review to you! I saw this pop up in the fic updates channel in the discord and it caught my attention, so it seemed like a great choice to dive into.

And what a delightfully interesting short story it is! The opening makes it quickly clear that it isn’t going to have a happy ending, but it isn't until near the end that we get to see just why. The first few parts give the vibe that it’s just an issue of a cocky team leader that bit off more than they could chew. But as the remaining parts roll out it becomes clear that there’s more to it than that. And then stacks up even more on top of it. And god, it gives this icky vibe of two not very great people. And to think, they’re in the rescue business!

If there’s one critique I have, it’s that the reveal that this whole setup was a ruse that Kay set up to make themselves look good and get ranked up felt a little bit abrupt. While it definitely felt it was meant to be a surprise, it still felt like I should have picked up on something being off. But I didn’t. That said, I DID pick up on the fact that Nerry knew more than he was letting on in a second read, subtly asking Kay not to “do this” reads to me like he’s giving them one last chance to back out, but Kay is so wrapped up in their idea of who Nerry is and in their own ambitions that they don’t even think twice.

Overall, a fun little read. Glad I picked this one!
 

Pen

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Thanks for the kind words on this one, Negrek! Glad you enjoyed the horror of the dungeon while appreciating its beauty--because I do think there's beauty. Unimaginable beauty, one might say.

The detail of Kay not wanting to look back because the stairs would no longer be stairs but instead something else is my favorite… Just so wonderfully creepy.
Mystery dungeons just have so much eldritch potential, I come back to them again and again. It was fun to be like, what if there are things that appear like stairs to explorers, but only because their minds can't handle the gaping reality holes that are actually there.

I’m not entirely sure what the shifts in the dungeon towards the end are supposed to indicate—Kay getting absorbed by the dungeon, perhaps.
It's not so much the dungeon itself shifting, as Kay's perception of the dungeon shifting. She's lost the psychic badge that shields her mind from its influence--the most obvious way that manifests it by turning dungeons into something ordered, with walls, and stairs, and passages. But they're . . . not really that. As time passes, the illusions are stripped back. And I like to think in mystery dungeons, the illusions that are stripped back include the ones about yourself if you're not careful.

Would the choice also have been easy if Kay had decided the way to get ahead was to get Nerry lost in a dungeon rather than just sending him home early?
Well, her plan did involve deliberately holding back so he'd get injured. There was always an element of risk . . .

Hi Windskull! Glad you had fun with this one.

And god, it gives this icky vibe of two not very great people. And to think, they’re in the rescue business!
I mean, do mentally balanced people decide to devote their life to poking around eldritch abominations?

If there’s one critique I have, it’s that the reveal that this whole setup was a ruse that Kay set up to make themselves look good and get ranked up felt a little bit abrupt. While it definitely felt it was meant to be a surprise, it still felt like I should have picked up on something being off. But I didn’t. That said, I DID pick up on the fact that Nerry knew more than he was letting on in a second read, subtly asking Kay not to “do this” reads to me like he’s giving them one last chance to back out, but Kay is so wrapped up in their idea of who Nerry is and in their own ambitions that they don’t even think twice.
Kay's deliberately not thinking about what she's doing in those early bits--it's only later that she's willing to admit how intentional it all was. But you'll notice that she brushes off the missing apples and berries.
 

K_S

Unrepentent Giovanni and Rocket fan
With an intro like that you know pov messed up and messed up nig. Like lifethreatening big.

And i wouldnt say brings comfort and eases giilt... It just comes across as a "lets avoid disaster domimoes" sort of stroke.

Love how neery is getting walked over by pov. Smooth mr. Water type. Bery smooth with the "i will be fine so we will be fine". It screams an egotism thats brain nreaking... And a convo being attrition? Passive agressive much?

Huh so were using rhe hunger mechanic to its fullest huh? Considering hunger randomizes one per floor seems very under prepared... I usually drag twice as much chow to three times as a rule of thumb.

And letting a partner go hungry.. Someones failing basic compassion class here.

And the results are kinda predictable.

Wait theres no healing suplies? Does he normally wander around with his pants down like this or is today a special day?

I think if he'd cared he would have gone back with his alley. As he didnt and put ambition before himself i suspect this is going to go bad.
And wow does it... Realities taking a lunch break isnt it? And i wonder how premeditated that was.. That last hug being the last thing before the badge goes away says a lot.

So he sits and thinks doesnt he? Well thats one way to wheel out a hisrory. Why am i not surprised it was a protector and protectee vibe... Or how mercintile the whole relationship was when viewed through the povs perspective.

And when the shiny new thing comes up our water leader goes "gimmie" and starts to bail. First in action than words... Fun.

Huh so teams break down for mundane reasons like moving? Interesting and doesnt that leave a specific hole on the roster? I can hear our water lizard drooling from here.

Executiin.. Funny set of words.. Now the easiest would be to...you know talk.. But i doubt thats going to happen here considering how lowly our big headed water skink sees his friend nerry. Remind me to stay that ones enemy it seems safer.

Is it the realization that nerrys smarter than you? because thats the gist i can see in action right now... And the light dawns and sheesh is it a big one.

And considering his plans i would call nerrys actions self defense more than anything else.

I suspect the water lizards going to croak but between insane scenery and his scatering thoughts i have to wonder if reverting to a feral isnt a thing? Or isnt happening right now... That would be ironic wouldnt it?. Later down the line a totally feral drizzle one room away from the exit boss is just hanging out and isnt itnodd to see drizzles here?

Anyway thanks for sharing. it was a fun read.
 
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Dragonfree

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This was good read - very creepy, good twists, lovely minimalist writing immaculately structured.

I liked the dungeon here and the unsettling vibe you went for in portraying the game's mechanics - the stairs that aren't stairs when you look back, the sense in the monster house that if you just stay motionless they will too, the way it shifts imperceptibly around Kay as she contemplates her situation. Very ethereal and horrory, and it definitely sets an ominous mood.

Which, of course, is very appropriate here. I like that you start off with a hint that Kay is just a bit of a controlling type, conversations with Nerry are a matter of attrition, and then she seems to care a bit more about her ambitions to clear the dungeon than about Nerry's concerns but it's still basically understandable, and then we get to their childhood and it seems so sweet only then oh no. Evolution being a point where Kay starts to get impatient with the idea she'll overtake him and he'll always be the same way, holding her back, makes sense; in itself an understandable emotion to feel, but where Kay really goes wrong is in responding to that feeling by breezily plotting to arrange for Nerry to get hurt so she can send him home, without a second thought. She doesn't seem to feel all that bad about that, just that he's redundant and she needs to get rid of him anyway.

And then there's the bit with the Marill. I confess I'm not 100% on what you're implying with it, but as I'm interpreting it, Nerry is possessive of Kay, and her playing with Marill over him bothers him in his silent way, and when she disappeared underwater for an hour he felt abandoned - hence the strange tone in his voice when she reemerges. And then, after that, because he fears Kay really will abandon/disappear on him if she keeps hanging out with other friends, he does something that scares off the Marill family, in order to keep Kay for himself. So in the end, when he understands Kay is trying to get rid of him, he begs her not to do this - and then, when she's insistent, when it's clear he's being left behind, he leaves her helpless in the dungeon, because if he can't have her, she may as well die - a Kay who's ditched Nerry is redundant to him, too. Pretty chilling.

I think the way you structure the reveals plays out very well, showing just the right things. The character dynamic really shines through it all, and we get a good sense of Kay, as an asshole who nonetheless gets betrayed in a way we can stingingly sympathize with even while it's pretty karmic. Really well executed all in all, and a memorable read.

It went the way it has always went
Pretty sure this should be "It went the way it has always gone".

For once, you're too slow: by the time you reach him, he’s fallen on the ground.
This sure is a line that becomes a lot more sinister on a second read, oof. (I like how Kay's plan to ditch him involves being too slow, when his being too slow for her is her problem; can't help but think she chose that particular method as a type of revenge or see-how-you-like-it.)

Your voice is wonderfully calm.
This one's probably the first one to suggest something's really off here on the first read... though I do find myself somewhat surprised by the use of wonderfully specifically; is she experiencing wonderment at the calmness of her own voice?
 

Pen

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Hi K_S, thanks for stopping by and glad you had a fun time!

I suspect the water lizards going to croak but between insane scenery and his scatering thoughts i have to wonder if reverting to a feral isnt a thing? Or isnt happening right now... That would be ironic wouldnt it?. Later down the line a totally feral drizzle one room away from the exit boss is just hanging out and isnt itnodd to see drizzles here?
It would be! At one point, in an earlier iteration, before the characters were as fully formed, it was going to end with something like that.

Thanks so much for this lovely and thoughtful review, Dragonfree! I really appreciate your analysis here; when you write a somewhat oblique story, for every clue you leave you're always wondering, did they get it? did they notice? So I was really happy to see you picking up on so many of the things I tried to imply.

And then there's the bit with the Marill. I confess I'm not 100% on what you're implying with it, but as I'm interpreting it, Nerry is possessive of Kay, and her playing with Marill over him bothers him in his silent way, and when she disappeared underwater for an hour he felt abandoned - hence the strange tone in his voice when she reemerges.
Yeah, Nerry is, at his core, scary possessive. Like, if this weren't set in PMD he'd absolutely stalk Kay's social media and track her phone.

The underwater scene--part of the reason Kay's freaked out when she emerges to see Nerry there is that the whole point was to get away from his presence for a bit but he just stays. And I think there's a part of her that realized then that she was never going to be able to get rid of him. Not easily, at least.

And then, after that, because he fears Kay really will abandon/disappear on him if she keeps hanging out with other friends, he does something that scares off the Marill family, in order to keep Kay for himself.
I don't know what Nerry did exactly, but it was to the marill, who was, after all, a lot smaller and weaker than him. And it was not pleasant.

So in the end, when he understands Kay is trying to get rid of him, he begs her not to do this - and then, when she's insistent, when it's clear he's being left behind, he leaves her helpless in the dungeon, because if he can't have her, she may as well die - a Kay who's ditched Nerry is redundant to him, too. Pretty chilling.
Couldn't have put it better myself! They both become redundant to the other, in the worst possible way.

The character dynamic really shines through it all, and we get a good sense of Kay, as an asshole who nonetheless gets betrayed in a way we can stingingly sympathize with even while it's pretty karmic.
Yeah--to realize you're a bit of a monster and that your best friend who you were going to betray is also a monster, but a bit better at it. Not a situation anyone hopes to find themselves in.

Pretty sure this should be "It went the way it has always gone".
I've been waiting for someone to call me out on this, lol. I fudged it to avoid the repeat of gone/going, but yeah. That's absolutely what it should be.

This sure is a line that becomes a lot more sinister on a second read, oof. (I like how Kay's plan to ditch him involves being too slow, when his being too slow for her is her problem; can't help but think she chose that particular method as a type of revenge or see-how-you-like-it.)
Yuuup. I wanted the line to have plausible deniability but be true. For once, she's too slow--only, it's because she's choosing to be.

This one's probably the first one to suggest something's really off here on the first read... though I do find myself somewhat surprised by the use of wonderfully specifically; is she experiencing wonderment at the calmness of her own voice?
My idea is that she's impressed with how calm her voice sounds. On first read, that would make sense because she's being steady in a crisis. On second read, she's pleased at how well this is going and what a good job she's doing pulling it off.
 

Dragonfree

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The underwater scene--part of the reason Kay's freaked out when she emerges to see Nerry there is that the whole point was to get away from his presence for a bit but he just stays. And I think there's a part of her that realized then that she was never going to be able to get rid of him. Not easily, at least.
Ahhh, there’s the piece I was missing. I took the feeling she couldn’t describe, that she felt back then even though it didn’t make any sense and then feels again now, to be fear, the sense that he might actually hurt her if she abandoned him, triggered by the strange tone in his voice that she couldn’t articulate - that seemed to line up best with what she’s feeling now in the dungeon as it creeps up on her that Nerry took her badge, and her feeling like it didn’t make any sense at the time. I think I didn’t quite see her as wanting to get rid of him at this stage exactly - partly because I read the scene as Nerry watching obsessively when Kay is with other kids specifically more than like his presence was constant and oppressive to her in a general way at the time, and partly because she’d previously suggested it was upon evolution and him lagging behind that having him around began to bother her, and then for reasons that were more Kay’s. But of course, the introspection gets deeper as it goes on, and might unveil something she didn’t initially realize but was still always there.

It does add some pretty interesting context if the real reason she did this was that she had wished to get away from him for a long time because he simply refused to ever leave her alone - if really getting on a better rescue team to get ahead was simply the excuse she found to escape from him. She may have felt legitimately trapped, especially if the Marill incident put some fear into her heart, even though she’s evolved now and he probably doesn’t have the same advantage he would have had back then. (Well… if she’s a Greninja now he sure still has a type advantage, doesn’t he.) Though in that interpretation one might wonder if her plan to send him home couldn’t have backfired on her - once she gets home after clearing the dungeon, even if she’d have an excuse to move to a different rescue team, he’d still be there and not exactly happy about it, right? So probably she had at least pretty firmly convinced herself that she didn’t fear his reaction and just ranking up and moving to a different team was enough to leave him behind.

Either way, even more stuff to think about! It’s a fascinating fic with lots of layers to it and it’s a treat to analyze. Glad my rambling was useful.
 
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The Guildmaster’s fond of saying that it’s never one mistake that kills you. To hear her talk, it’s nothing more or less than your entire life that does it. Who you are and what you’re like, a series of choices that knock and collide until they bring you to the final point.
Okay but this is legit what I always say about PMD gameplay--traversing a dungeon isn't ever just one thing, each individual encounter or trap is trivial, it's the combination of all those encounters, all those traps, one after another until finally something gives.

There's a fascinating, almost accusatory vibe that instantly comes across from the prose. 2nd person is usually done in present tense to feel more in-the-moment, like you're along for the ride. 1st and 3rd are frequently past-tense, but those just feel like telling a story to a reader who wasn't there. But 2nd past is... telling a story to a reader who... was there? Why do that unless to make them face what happened? This is the truth of what you did. It switches to a more familiar present-tense for the dungeon itself, but that accusation lingers.

And, oh man... are each of these drabbles? *checks* Okay, not quite, but they're still remarkably similar in length and that gives it a "snapshot" feel. Top ten photos before disaster.

I love how thoroughly everything feels just a little bit off in the way your write dungeons, in a way that takes things that would be gamey and makes them go full unreality. The stairs not being stairs, the rooms not being rooms without psychic help, the idea that nothing moves until you do. In fact, for a moment I thought that the floor levels not matching up with the number of apples was itself a distortion...

Kay going on alone had me cringing so hard, knowing that everything's going to go wrong, but not the how or why...

And then being totally unprepared for the how and why. At first it's just the realization of "aha, it was her hubris that made her want to go on without him because she didn't need him, and now she's paying for it." But no. It's never just one mistake. I was fully ready for it to just be her cockiness that led to her getting careless, so the look on my face when it was deliberate, and I was left spinning my wheels like "did he know along, how did he find out, how long did he resent her, aaaaaaaa."

The one thing I got stuck on was the, "What had he wanted? He’d never said, but you suppose you’ve always known." The proximity to the Marill family obviously implied that he had something to do with them leaving, but I couldn't quite figure out how that implied what he wanted until I read Dragonfree's review and got the missing puzzle piece of possessiveness. I had realized that the missing emotion was fear when Nerry was the one who scared away the Marill family, I just didn't figure out why that mattered because I was fixated on the idea that his resentment toward her leaving him was a recent thing borne solely out of her plot to rank up.

Really glad I read this, thanks for sharing~
 

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I took the feeling she couldn’t describe, that she felt back then even though it didn’t make any sense and then feels again now, to be fear, the sense that he might actually hurt her if she abandoned him, triggered by the strange tone in his voice that she couldn’t articulate - that seemed to line up best with what she’s feeling now in the dungeon as it creeps up on her that Nerry took her badge, and her feeling like it didn’t make any sense at the time.
And I do think it's fear, but a fear more complicated than direct physical injury.

I think I didn’t quite see her as wanting to get rid of him at this stage exactly - partly because I read the scene as Nerry watching obsessively when Kay is with other kids specifically more than like his presence was constant and oppressive to her in a general way at the time, and partly because she’d previously suggested it was upon evolution and him lagging behind that having him around began to bother her, and then for reasons that were more Kay’s.
Yeah, at that stage the feeling is pretty inchoate, I think. She wants a moment to herself, but she doesn't want him gone entirely, because he's still her protector. Part of the shift of her evolution is feeling like she can handle herself without him. The possessiveness isn't a price she has to pay for protection anymore.

But of course, the introspection gets deeper as it goes on, and might unveil something she didn’t initially realize but was still always there.
This is definitely what I was going for--she's more and more stripped bear as it goes on.

It does add some pretty interesting context if the real reason she did this was that she had wished to get away from him for a long time because he simply refused to ever leave her alone - if really getting on a better rescue team to get ahead was simply the excuse she found to escape from him. She may have felt legitimately trapped, especially if the Marill incident put some fear into her heart, even though she’s evolved now and he probably doesn’t have the same advantage he would have had back then. (Well… if she’s a Greninja now he sure still has a type advantage, doesn’t he.) Though in that interpretation one might wonder if her plan to send him home couldn’t have backfired on her - once she gets home after clearing the dungeon, even if she’d have an excuse to move to a different rescue team, he’d still be there and not exactly happy about it, right? So probably she had at least pretty firmly convinced herself that she didn’t fear his reaction and just ranking up and moving to a different team was enough to leave him behind.
For sure--there's a lot of self deception going on. In the back of her mind, there might also be the thought that he wouldn't be able to mess with a higher-ranked team like that.

(She's a drizzile in this, by the by! But the Greninja type advantage thing is an interesting thought. A potential vulnerability that would come with growth.)

Hey, Chibi! Thanks for stopping by--this review was a super pleasant surprise!

Okay but this is legit what I always say about PMD gameplay--traversing a dungeon isn't ever just one thing, each individual encounter or trap is trivial, it's the combination of all those encounters, all those traps, one after another until finally something gives.

I love how thoroughly everything feels just a little bit off in the way your write dungeons, in a way that takes things that would be gamey and makes them go full unreality. The stairs not being stairs, the rooms not being rooms without psychic help, the idea that nothing moves until you do. In fact, for a moment I thought that the floor levels not matching up with the number of apples was itself a distortion...
To both of these, absolutely. I had fun in this one rolling with the game mechanics, because there's so much inherent horror if you give it space to breathe. I'm realizing pretty much all my PMD oneshots are just different ways to poke at how creepy mystery dungeons are.

There's a fascinating, almost accusatory vibe that instantly comes across from the prose. 2nd person is usually done in present tense to feel more in-the-moment, like you're along for the ride. 1st and 3rd are frequently past-tense, but those just feel like telling a story to a reader who wasn't there. But 2nd past is... telling a story to a reader who... was there? Why do that unless to make them face what happened? This is the truth of what you did. It switches to a more familiar present-tense for the dungeon itself, but that accusation lingers.
I tend to think of 2nd person as a tense just like any other, but you're right that it lends itself well to cutting, accusatory writing.

The proximity to the Marill family obviously implied that he had something to do with them leaving, but I couldn't quite figure out how that implied what he wanted until I read Dragonfree's review and got the missing puzzle piece of possessiveness.
Eyy. That's part of the charm of forums for sure. It's really nice to see other people's reactions and takes.
 

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Heya, grinding out one last review before curtain call for Week 3. I'd heard some good press about this one through the grapevine and it's nice and bite-sized, so sounds like a good enough reason to jump in and try and jam out a fast review:

o.

The Guildmaster’s fond of saying that it’s never one mistake that kills you. To hear her talk, it’s nothing more or less than your entire life that does it. Who you are and what you’re like, a series of choices that knock and collide until they bring you to the final point.

In that sense, it’s inevitable.

Totally a good sign for where this plot’s gonna go, really. ^^;

Maybe thinking like that comforts her, eases her guilt when something does go wrong. You used to think she was full of it. But now—you think, perhaps, she was right.

Oh, so this is one of those “life recall right before death” plots, huh? Whelp, time to see what sort of [uhhh] places this one-shot goes to.

i.

You chose the mission. Tore it off the bulletin board, marched into your shared quarters and unfurled it like a flag.

“We’ll make Silver with this,” you said.

… Do I want to know what sort of unholy mess of a mission the protagonist picked off the board there? .-.

Nerry read it slowly, while you amused yourself by snapping your tongue in and out.

“Silver Marsh,” he said at last. “That’s too hard for us.”

“It’s a marsh; I’m a water-type. We can handle it.”

10 words spoken seconds from disaster.

You don’t think you convinced him, not truly. But conversations with Nerry are a matter of attrition. It went the way it has always gone: you said that you were going and he came too.

Ah yes, that totally sounds like a reasonable and healthy team dynamic there. /s

Not that this isn’t depressingly plausible for games where the partner’s a bit on the more cowardly/doormat side like the Explorers games.

ii.

“I’m hungry.”

Nerry’s voice is hushed, half-apologetic. You’ve just come through the sixth stairway. You resist looking back: the thing behind you won’t be a stairway any longer. You don’t last long as an explorer unless you make peace with that illusion.

Ah yes, the hunger mechanic, truly everyone’s favorite bit of PMD. /s

Small Stomach was such a godsend of an ability as of DX since boy did it get old to have to manage hunger in some older games.

“We’re almost there,” you say. “Have an apple.”

“No more apples. And no berries.” He shakes the bag forlornly. “I looked.”

Ah yes, this mission’s going swimmingly already!

“We brought seven. One for each floor. We’ve only had four.”

His horns droop. “There’s none left, Kay. I think we should go back.”

“No,” you say loudly. The wet air sucks in your voice and dampens it. “It’s fine. Come on.

It is not fine, and you are going to cause a TPK at this rate, protag.

iii.

Three rooms later, you hit a monster house. You can sense it the moment you step inside: behind you, something is severed, disjointed. Ahead, there are a dozen gleaming eyes. You’re hit, as always, with the illusion of equilibrium. Maybe if you stayed motionless, so would they. Maybe it could go on like that forever.

Oh, so there’s a definitive “trigger” event for Monster Houses in this setting, huh? Not sure if I’ve ever seen someone else take that tack, but it’s a neat touch, especially if the dungeon encounters are constructs of some sort.

You’ve never waited long enough to find out, and you don’t this time, either. Your water pulse shoots through the darkness. Everything spills into motion.

>not beelining straight back for the corridor to camp at the entrance

Whelp, have a nice death, you two.

You see better than most in the dark. You weave between two lombre, knocking them back with short bursts of water, coming in close with your tail while they are disoriented. The moist air is invigorating. You could do this for a very long time.

You see, everybody thinks that in PMD up until some dumb Electric-type uses Discharge and ruins your day in short order.

“Kay!”

Oh, so that’s the protag’s name, huh? Well, duly noted then.

You finish with the lombres and turn to find Nerry cornered. For once, you're too slow: by the time you reach him, he’s fallen on the ground.

Nerry: “Yeah, Kay, I think it’s time to pack it up and go home.” X_X

iv.

“Okay,” you say. Your voice is wonderfully calm. “You’re hurt and we don’t have berries. You won’t make it through, so you have to go back. But I can finish it. There’s just a little bit left.”

“Don’t do this.”

Nerry: “Kay, we can’t keep going on like this!” [grohno]
Kay: “Yes we can! We just need to walk around in an open place for a bit and you’ll get your health back-”
Nerry: “Kay, this isn’t some game, alright?! That’s not how any of this works!” [seviAAAAAAAAAA]

“It’ll be for the best. You’ll see.”

[bender_laughter_gif]

He tries to argue some more, but you are firm. In the end, he hugs you and says, “Take care, Kay.” The rescue badge flares white and yellow. He’s gone.

Oh, well at least Kay had the decency to allow Nerry to go home instead of keeping him on a death march in an obviously impossible situation?

Not a high bar to cross, but still. ^^;

You begin to walk. The waterlogged earth is pleasant against your feet. The next room is empty, and your spirits rise. You begin to hum. From habit, you reach up to fiddle with the badge around your neck.

And that is when you understand your last mistake.

What, deciding to go off solo in a dungeon that just burned through your entire bag full of supplies? Yeah, that’s the point where I’d quit too.

v.

Panic, in your experience, is a varied sensation. Bright and stabbing sometimes, sometimes still and cold. You begin to pat along the ground. The cord around your neck was made from tangela sinew. A cord like that doesn’t snap without warning. That’s a fact, and it doesn’t change the other fact: your neck is bare and the ground is empty.

Kay: “... Oh that ain’t good.” [uhhh]

You backtrack, even though it isn’t pleasant. The layout doesn’t change, but the rooms do. You go anyway. Something flashes in the corner of your eye, but when you come closer you see that it is just a strangely luminescent moss, pulsing neon green in the murky light.

Your panic turns hotter. You need to think.

Kay, this is the point where you go for your badge and phone home to get the hell out of here while you can, just saying.

There are stories about explorers who lost their badges. Those stories tend to be brief and uniform in their endings.

[copyka2]

Well, never mind then. Too late.

Your options, then. Reaching the end won’t help, not with your badge gone. You might get there, but you wouldn’t realize it. The distortions that bridge the outside world are only observable with the psychic assistance of the badge. Going forward isn’t any better than going back.

[ohnowen]

Does sending a letter out calling for help and camping in place not work in this setting?

Stay put. That’s the protocol, as if you’re a child left behind in a crowded square. Stay put and wait for rescue. Nerry will know something is wrong after a few hours if you don’t show. A gold team could clear this dungeon in less than three hours, you’re sure. Five hours, you decide. The number may be arbitrary, but it grants you the illusion of control.

Oh, never mind, Kay does indeed do that there. Probably. Maybe. Can’t really tell since Kay’s decision-making hasn’t really been the greatest in this one-shot thus far.

vi.

For the first hour, you’re on edge. Every shift in the flow of the water has you tasting the air with your tongue, but nothing enters the room and nothing leaves it. The stasis slowly draws you into a stupor. You curl up behind a clump of reeds.

Kay: “This… setting isn’t one that has dungeon madness, is it?” [fearfullaugh]

There’s not much else to do, so you think about the past. You think of Nerry, your protector and your playground, your friendly giant. You climbed him and hid behind him and rode between his horns.

… Wait, what was Nerry’s species anyways? Since I’m not sure if that was ever stated prior to this moment?

You told him, cloaking your nervousness with bold assurance, that the two of you would be explorers, the best in the world, and your heart nearly burst when he met your gaze and gave a solemn nod.

Yeah, and that’s certainly turning out well for you right now, isn’t it, Kay?

You applied together, a ridiculous pair. One dopey heracross, one wide-eyed sobble. Nerry carried the combat admission test, while you handled the oral examinations. You always complemented each other in that way.

>imagine continuing on in a dungeon without the member of the team that blatantly carries you in fight

Wow, Kay. Just wow.

Because Nerry was slow. He counted slowly during hide and seek, slow enough that you always had time to find places he could never find. Growing up, you never minded his slowness. In fact, it comforted you. On restless nights you tallied it up: Nerry knocking back your playground tormentors with his horns, you explaining to him the convoluted rules of sticks and apricorns. It balanced. You slept well.

Nerry was slow. When did it start to bother you?

When you started getting stars in your eyes and trying to rocket up the rank ladder? Since I kinda got that vibe from that first scene, Kay.

vii.

Time is hard to track here. But some time must have passed, because the darkness begins to relent. You can make out more and more of your surroundings: the sleek growths of reeds, the shoots of blue iris, poking up like paint brushes, the golden moss. It’s beautiful.

It’s been like five minutes outside, hasn’t it?

The feeling crept up over time, you suppose, like dusk or like dawn, but the first time you put a name to it was shortly after your evolution.

… Oh, so there is dungeon madness in this setting, huh? [copyka2]

Evolution—that marvelous day. It was like being born again, being born better. Your body had always been an awkward, stubby thing. You moved and fought in spite of it. No longer. Simple movements became delightful. You spent long hours in the training room, continued even after Nerry shuffled over to the benches to rest.

It occurred to you, then, that another evolution lay in your future, but that Nerry would never evolve. This was all he would ever be.

Yes. That was when it started.

[ackshually_png]

There’s Awakening Emeras and seed analogues to them and Nerry could’ve used that to go Mega Heracross, even if temporarily. Even if it’s a bit late for that now.

viii.

Maybe nothing would have come of it, except that one evening as you were leaving the training rooms, you caught voices. You could have kept going when you realized the conversation was private, but you didn’t do that. You stayed put.

Oh, so this is what got Kay so hot and bothered to do something stupid like vault straight to Silver rank with one mission, huh?

It was Team No. 134, the Dungeon Skaters. They were silver rank, but everyone said they’d hit gold in another year. You’d collaborated with them once as part of the mentorship program and been struck by their professionalism, their silent teamwork.

Oh, so ranks are volatile in this setting and not permanent. I guess that would certainly incentivize teams to keep working and not rest on their laurels here.


It was Magary speaking, the vaporeon. “I don’t want to let the team down,” she was saying. “But it’s been two months since I told you. I can’t put off the move forever.”

“We know. It’s just so hard to find a replacement. Everyone suitable’s already been paired. Can you wait a little longer, until the newest wave of bronzes come up?”

Magary:
[bugs_bunny_no]

That’s how you learned that the Dungeon Skaters needed a new team-mate, and not just that—a water-type. The thought ate away at you as you slowed your pace each morning to match Nerry’s, bit back your frustrated remarks. You saw two futures, two paths. One, slow and plodding, with Nerry at your side. Making silver, but likely never gold. Or—a path that led steeply upwards.

Woooow Kay, just wow.

The choice was easy; the only issue was the execution.

Completing a mission in Silver Marsh would elevate your ranks, if you finished. If you finished, but Nerry didn’t, you’d move up and he wouldn’t. It wouldn't be hard to arrange. You handled the packing; you were the one who brought off the nick-of-time rescues. All you had to do was be a bit too slow. The split wouldn’t be anything personal. He’d have to understand that.

Suddenly, I don’t feel so bad that you’re trapped in this Mystery Dungeon right about now, Kay.


You weren’t children any longer. And Nerry, dear Nerry, was redundant.

Yes, and you want redundancies on your team, since when they’re gone and anything bad happens, the team falls apart. Like you’re discovering in live-time, Kay. Basic principle of engineering and organizational structure 101.

ix.

At this point it dawns on you that you aren’t in a room anymore. You’re not sure how you could have ever made that mistake. There aren’t walls, passages, or entrances here. The marshland stretches out around you, uncontained. Within it, the fog gathers and disperses, an endless canvas of swirling rivulets.

Kay: “Which is probably a sign that I’m in some really deep trouble, but I’m trying not to think too hard about that right now.” O_O;

A memory returns to you. A new kid in town, a marill. She sought you out for swims, showed you secret dips in the creeks and ponds. You remember Nerry waiting by the bank as you played, standing there for hours, his eyes never leaving you.

Sure is a good thing you ditched him to try and throw him under the bus, huh Kay?

Once, you tired of this constant observation. You swam to the bottom and waited, until five minutes became an hour. The bottom of the pond swirled with silt and mud, but as you crouched there, the sediment settled. The water was a clear and riotous turquoise. Light from above performed acrobatics for your entertainment. At long last you surfaced, pleased with yourself.

Nerry was there. His bulbous yellow eyes locked onto yours.

“It’s late,” he said in a tone you couldn’t read at all.

Oh, so it was that “Kay, did you seriously just leave me waiting here all this time?” sort of look, huh?

You avoided his gaze, caught-out, ashamed, and something else, a feeling you never named because it had never made any sense to feel.

You feel it now.

Yeah, I bet you do, Kay.

x.

The fog is starting to clear. You look up, expecting to see the sun—because it’s bright in here now, so bright your eyes are beginning to sting—but there’s nothing in the sky.

Kay: “Nerry… did make it back to the guild, didn’t he?” ._.;

He’d hugged you, hadn’t he? His claws had scraped lightly against your neck.

As a sobble, you’d coveted those claws. You’d wanted his sleek armor, his sharp-edges—you wore them so much better.

What had he wanted? He’d never said, but you suppose you’ve always known. The marill’s family had left a few months after they came. No one had explained why, but Mother had told you afterward to stick close to the house and not to wander.

Wow, I see that Kay was a quality™ teammate there. Though that is a terrible omen as to what became of that Marril. .-.

The marsh is far too bright. You push your face into the soft earth to shield your eyes from its brilliance. You are thinking about stairways, thinking about the need to believe that one thing leads to another, explains it. But they aren’t really stairways. Maybe there aren’t really choices, either.

“Take care,” he’d said, and his claws had scraped against your neck.

Kay: “C-Can I take the whole ‘trying to screw Terry over for my own advancement’ thing back now?” ._.;

The rescue won’t be coming. So you lift your eyes again. It’s still terribly bright, but you don’t mind so much anymore. And you see now where the light’s coming from.

Yes. You see it all.

Alas, poor Kay.

A bit different in presentation, but it was honestly kinda chilling to read this piece since in many ways, Kay winds up vidicating the Guildmaster’s warnings about how disaster doesn’t come by happenstance. It’s a fascinating glimpse into some of the less upstanding sides of guild politics and how it sometimes comes to a head at moments like these. My only real critique is that I wish we got to see a bit more of things since the story’s nice and bite-sized.

Good work, @Pen . And I’ll be looking forward to reading more of your work in the future. ^^
 
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The marsh is far too bright. You push your face into the soft earth to shield your eyes from its brilliance. You are thinking about stairways, thinking about the need to believe that one thing leads to another, explains it. But they aren’t really stairways. Maybe there aren’t really choices, either.

I tripped over this paragraph because the way I read it was that stairways represent inevitability, right? You can only go one way on a stairway. But if the stairways are illusory, that would mean inevitability is illusory, which contradicts the last sentence.

As a sobble, you’d coveted those claws. You’d wanted his sleek armor, his sharp-edges—you wore them so much better.

I don't think there should be a hyphen in "sharp-edges", should there?

What had he wanted? He’d never said, but you suppose you’ve always known. The marill’s family had left a few months after they came. No one had explained why, but Mother had told you afterward to stick close to the house and not to wander.

I didn't pick up on the implication here (Nerry had scared them off), but it seems other readers did. I might have gotten it if I'd read again more closely, but it's impossible to say now.

I did pick up on Nerry's sabotage on the second paragraph of the last scene. It was quite a chilling realization, and more so for its subtlety. The entire story was chilling.

I did not understand what the overwhelming light was at the end. I presume it represents revelation and impending death, but I have no idea what it literally is.

I think the brisk pacing and minimalistic exposition work. The story's sparseness did not stop me from feeling the dreadful atmosphere. Mentioning that the cord should not have snapped without warning amplified the tension—my initial suspicion was that something or someone was toying with Kay, which turned out, like, half right. And, like, I figured she was screwed since the start of the story, but that part really hammered it home.

I think the idea of not really feeling bad about how things turned out simply because you can't imagine yourself having ever acted differently is interesting—even somewhat relatable to me, unfortunately. And the outcome of the story does feel inevitable because of the kind of people Kay and Nerry are. There isn't a version of Kay that won't choose to leave Nerry behind, and there isn't a version of Nerry that is willing to let her.
 
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Thanks for stopping by! Glad you had fun with the PMD mechanics in this one. I find that if you roll with them, they get quite creepy.

Does sending a letter out calling for help and camping in place not work in this setting?
Well, how would the letter be sent?

Sure is a good thing you ditched him to try and throw him under the bus, huh Kay?
Maybe that's why she ditched him . . .

It’s a fascinating glimpse into some of the less upstanding sides of guild politics and how it sometimes comes to a head at moments like these.
Wasn't entirely sure what you were referring to with 'guild politics'?

I tripped over this paragraph because the way I read it was that stairways represent inevitability, right? You can only go one way on a stairway. But if the stairways are illusory, that would mean inevitability is illusory, which contradicts the last sentence.
I could definitely see that as a metaphor but it's not quite the one I had in mind here. The stairway is an illusion created by the badge, because the mind couldn't handle what's actually there. So the staircase is a sort of understandable explanation for how you get from one place to another. Choices are also that - we like to think that we end up where we are because of the choices we've made. But if the stairways aren't real, maybe choices aren't either. It's ultimately a point about inevitability, yes, but more through the lens of whether choice (represented by the digestible image of a stairway) is illusory.

I don't think there should be a hyphen in "sharp-edges", should there?
Indeed there should not be. Fixed.

I did not understand what the overwhelming light was at the end. I presume it represents revelation and impending death, but I have no idea what it literally is.
You can think of it as Kay starting to see the dungeon as it really is.

I think the idea of not really feeling bad about how things turned out simply because you can't imagine yourself having ever acted differently is interesting—even somewhat relatable to me, unfortunately. And the outcome of the story does feel inevitable because of the kind of people Kay and Nerry are. There isn't a version of Kay that won't choose to leave Nerry behind, and there isn't a version of Nerry that is willing to let her.
If you had perfect self-knowledge, could you change? Or would that just make you understand that you never had a choice . . .
 
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