Post by Kai on Mar 3, 2010 20:58:56 GMT -5
Name:[/u] Atropos, Spectre of Tragedy
Age/Date of Birth:[/u] Estimated at approximately 450 years / DOB unknown.
Gender:[/u] Appears to be, and identifies self as female. ‘Her’ true form is amorphous and devoid of sexual characteristics and ‘her’ method of reproduction (if one exists at all) is unknown.
Height:[/u] ‘Normal’ physical form appears to be approximately 4’ 11” – including the ridiculous heels/soles of her boots. Would measure at 4’ 6” sans boots. True form, when tangible, averages a height of 10 feet, but may stretch to approximately 17 feet, and may be compressed to as small as 2 feet.
Weight: ‘Normal’ physical form may possibly break 80 lbs., soaking wet. True form, when tangible, weighs upwards of 800 lbs., compressed or stretched.
Note: Average overall size of ‘her’ true form is something akin to a monster truck.
Blood Type:[/u] Unique; Unclassified.
Dominant Hand:[/u] ‘Normal’ physical form does not appear to favor one side or the other. True form has no defined appendages.
General Description:[/u]
‘Normal’ physical form: Atropos’ projected physical form is that of an exceptionally petite young lady. Due to ‘her’ size and appearance, it is difficult to properly judge ‘her’ age, and ‘her’ doll-like, Victorian-flavored, gothic-ish dress style only adds on an air of youthfulness. Approximate age range, appearance wise, could stretch from as young as 10 or 11 to quite possibly an under-developed 16. ‘Her’ hair is short, ‘heavy’ layered, and is a lackluster gray-white in color. ‘Her’ skin is porcelain smooth and very pale and ‘her’ eyes are a deep maroon that, in most light, appears almost black. The dress style appears in the picture below. The aforementioned boots (see Height) reach ‘her’ knees and, perhaps somewhat out-of-characteristically lace-up like combat boots. ‘She’ is never seen without one or both of ‘her’ ‘dolls.’
Sample picture:
True form: The best way to describe Atropos’ true form is… an enormous amoeba. ‘She’ exists as a giant, mostly translucent blob of goo, with a smattering of debris (which may or may not be ‘natural’ to ‘her’ form) ‘floating’ within the gelatin-like mass. Additionally, a large, maroon-colored ‘nucleus’ is suspended in ‘her’ center. The nucleus is very reminiscent, in shape and texture, of a gigantic peach pit (or seed, if you prefer.) The majority of the time, Atropos’ true form is both invisible and intangible. ‘She’ cannot have ‘her’ projected ‘normal’ form (the girl) exist and have ‘her’ amoeba form be tangible at the same time. ‘She’ can, however, choose to deactivate the girl (whose body disturbingly melts away, like a slug or snail drenched in salt – including the unnerving squealing) which will allow ‘her’ to manifest in the physical realm, or, should the girl form be destroyed by outside sources (monsters, the Senshi and Knights, human weaponry, a trap malfunctioning, ect.) ‘her’ amoeba form will be forcibly manifested in the physical realm for approximately a half hour. (30 minutes is the average time it will take ‘her’ to re-created the girl form after it has been destroyed. Note that if ‘she’ chooses to deactivate the girl, its recreation can occur immediately, thus sending the amoeba-form back into the ethereal.) Typically, a multitude of thread-thin, nearly translucent ‘wires’ will project from the amoeba form when it is visible. These are ‘her’ ‘puppet strings’ – the ethereal connections ‘she’ uses to take control of/manipulate other living creatures. Although incredibly difficult to see (especially on first experience; the Senshi and Knights will slowly develop the ability to pinpoint the ‘puppet strings’ with experience), these ‘wires’ can be severed by physical or energy means. Severing the ‘wires’ will remove Atropos’ control over whichever individual the ‘wire’ was connected to. As the amoeba form is amorphous and ‘flowing’, in theory, ‘she’ can take nearly any shape ‘she’ wishes.
Strengths/Talents:[/u] Is intangible the majority of the time and, thus, cannot be damaged until ‘her’ amoeba form is forced into the physical realm. The only portion of ‘her’ form that can truly be damaged is the seed-like nucleus in ‘her’ center and the goo-like rest of ‘her’ body generally regenerates at a very quick rate. The blob portion of ‘her’ body is also extremely resistant to light, dark, water, wind, and earth elemental energy, and is also highly resistant to physical (i.e. melee, which includes the metal element, non-explosive projectiles, ect.) damage. ‘Puppet strings’ can be used to control nearly any living creature through a kind of ‘suggestion-charm’ method – while insignificant with non-sentient beings, this ‘suggestion’ control manifests in sentient beings as if their actions and choices are of their own accord. That is, there is *no way an individual can recognize that they are being controlled.* (Note that the Senshi and Knights are highly resistant to the controlling strings, which will come as a huge surprise to Atropos.) Additionally, the ‘puppet strings’ are the method by which Atropos ‘ingests’ knowledge; using them to pull information directly out of living creatures or functioning electronic devices. Appears capable of digesting anything to use as sustenance. Combat against Atropos’ girl form is always a function of 3 – dealing with the girl herself and her two dolls.
Weaknesses:[/u] ‘Intelligence’ is a matter of experience, and despite having accessed (at one time or another) a store of knowledge contained within the ruins of Luna, may not be able to properly comprehend or utilize information that ‘she’ has gathered. The blob portion of ‘her’ body is susceptible to fire and lightning elemental damage and, if frozen, becomes exceptionally brittle and weak against physical damage. Once a ‘pore’ has been punched through the blob, the nucleus of ‘her’ form is exceptionally weak again fire, lightning, and physical attacks and regenerates incredibly slowly. (That is, far slower than normal human wound healing.) ‘Her’ true form is also not very fast or agile.
Hobbies:[/u] Setting elaborate traps in order to catch prey, for absorption/sustenance, or merely to amuse ‘herself.’ ‘Ingesting’ the information from devices left within the ruins of the Moon, when ‘she’ can manage to provide the proper power supply for them. Pitting ‘same’ against itself – i.e., forcing creatures of the same species to kill one another. (If ‘she’ gains access to Earth/human society, this will become more group specific – friends/cliques, families, ect.)
Likes:[/u] Ironic endings, pitting ‘same’ against itself – i.e., forcing creatures of the same species to kill one another. (If ‘she’ gains access to Earth/human society, this will become more group specific – friends/cliques, families, ect.) Being alone by way of destroying all other living things in ‘her’ immediate area.
Dislikes:[/u] Trap failure. Nonviolent resolutions between competing parties (excepting when a violent resolution has the violence directed towards ‘her.’) Inability to provide power to suspected information-containing devices. Powerful adversaries.
Personality:[/u] A reflection of the disturbed personality of the real basis of ‘her’ girl form: selfish, deceitful, cunning, and hateful. ‘She’ is twisted, and takes great pleasure in inflicting suffering. Additionally, ‘her’ preoccupation with consumption may be due to the literal end of the girl that ‘she’ projects. (See Bio.)
Occupation:[/u] Is not integrated into any society at start. (If ‘she’ gains access to Earth/human society, ‘she’ will attempt to integrate as per ‘her’ ‘normal’ physical form, i.e. that is, of a little girl that dresses oddly and seems obsessed with dolls.)
Residence:[/u] Luna, Earth’s moon. Atropos’ primary ‘haunt’ is the ruins of the Soljian Metal Gardens, an expansive amusement park located on the outskirts of the remains of the Lunar capital of Crystalys.
Biography:[/u] Atropos’ origins are unknown, even to ‘herself.’ A theory that may develop, based on ‘her’ true form, is that ‘she’ is literally what ‘she’ appears to be – an amoeba that, due to intense and long-standing exposure to ‘tainted areas’ developed into the long-lived, sentient creature that ‘she’ is today. Unfortunately, ‘she’ appears to be one of a kind and, due to ‘her’ inability to remember ‘her’ own origins, appears to have had ‘consciousness’ manifest as a secondary evolution separate from the primary ‘super size’ and tangible/intangible physical evolution.
The mystery of the girl form that ‘she’ projects, however, is quite interesting. According to information that may be found within the Crystalys ruins, Atropos’ ‘normal’ physical projection is, in a way, the reincarnation of the child-aged form of a woman by the name of Helena Ridley. Born 14 years prior to ‘the cataclysm’, Helena was the youngest of 16 children born in the unheralded Ridley family. Earthen transplants to the Lunar capital, the family was, except perhaps for the abnormal amount of children, completely unimportant. Were it not for Helena’s later exploits, the only record in history of any member of the Ridley family would have been the required mention in the census data. Perhaps, prior to Helena’s birth, the family was ‘normal’, but little information of the actual details of Ridley family life was either purposefully purged, lost through damage done during the destruction of civilization on the moon, or never existed in the first place. What is known is that Helena’s birth coincided with her mother’s death and, though details do not exist, it is recorded that the death was not due to complications during childbirth. Two years later, Helena’s father also met an untimely end, leaving the family in control of the elder siblings who, at that time, were in their late teens. Voice recording ‘diary entries’, recorded by Helena herself (and which may be recovered within the Crystalys ruins) indicate that her upbringing was full of physical and mental abuse; that she was branded –by both family and her peers – as ‘talentless, withdrawn, selfish, and disturbed; a perpetual child (even in her teen and later years) that sought only self-gratification and the companionship of her dolls.’ In more than one recording, Helena reports that her ‘parents (by which she meant her elder siblings) wished her to be unreal, to not exist, but that they could not “finish the tasks they started” and truly be rid of her.’ She also reports that she was continuously referred to as ‘a leech, a worm, a mouth to feed that was never satisfied and served the sole purpose of making everyone else miserable.’
As the recordings continue through her development, her quiet, calm voice reports the abuses inflicted upon her in exacting detail up until the point that she reports, with little fanfare that, ‘today, the sky that was filled with stars turned black like pitch, and the rain was replaced by blood and fire.’ From this point on, the recordings take on a different tone. Though still quiet in her own voice, two other, unidentified voices join in on the commentary of the recordings which, unlike the initial set, are not a ‘daily’ diary-like record. Recording dates are intermittent, 15 in total, with each one detailing what she describes as her ‘life of retribution.’ These are, in fact, ‘real time’ audio recordings of the deaths of each of her siblings and all of them follow the same pattern: a quiet introduction stating the date, time, place, and the name of the intended victim. These ‘facts’ are accompanied by the other two voices in the form of whispers and mutterings, much of which is unintelligible. Following the introduction, Helena falls silent, though occasionally the other voices continue, and the recording moves to the ambient sounds of the environment, including the mechanical sounds of her ‘traps’ – that is, the sounds of whatever it is that is happening to her victims – and their screams (when possible; the earlier recordings have much less in terms of victim vocal contribution because, as she remarks, she was ‘too efficient.’) In the case of the later recordings, conversations between Helena and her victims are also included. Once the victim has expired, Helena returns her attention to the recorder, explaining, in detail, the trap she set, how it functioned, the method by which she lured the victim to the trap spot, what occurred to the victim, how, if at all, it differed from what she had intended, and speculation on how the trap could be improved. The recordings tend to end with updates on the destruction ongoing in the Sol system, and how news-reported events have ‘inspired’ her for either the event that was just recorded or for future plans.
Following the 15th recording, there is over a year gap in recordings. The first new recording identifies the two other voices as Helena’s companions: Melpomene and Anita which, appropriately, are the name of Atropos’ ‘version’s’ dolls. Additionally, the explanation for the gap is given: catastrophe has come to the moon, and ‘the world is on fire.’ Recordings are intermittent through the next 5 years, with only casual updates on the destruction that was occurring at the time. Eventually, though, the destruction is complete, and Helena describes the ‘carnival of horrors’ that remains on Luna’s surface as ‘extremely boring with small sparks of entertainment at the expense of panicking survivors.’ At this time, she reports that the few remaining communication connections that exist have depicted only 4 strongholds of humanity left on the moon and, over the course of a year’s worth of recordings, Helena describes how, for the sake of survival, the strongholds turn on and destroy one another, in order to steal whatever resources they can. Of these recordings there is a 22-part set where she describes her own part in the destruction of one stronghold, in which she was an assistant in developing a poison for a particular stronghold’s water supply. The recipe for the poison, its laboratory testing (in real time, with the test subjects being ‘volunteers’ that had ‘stupidly left the safety of their homes’ from other strongholds), and the location and administration of the poison into the stronghold’s water supply. The last 3 recordings in the set are from within the rival stronghold itself, where Helena and others from her own stronghold have infiltrated their weakened target to claim its resources. These recordings are filled with her ‘interviews’ of the slowly fading victims, and include very disturbing stories of her ‘bargaining’ with individuals to commit all manner of atrocities on the promise of a cure… that she states, time and again, to the recorder does not exist.
Though her own recordings offer direct insight, there are other records to her activities at this time, as catalogued by other members of the stronghold. In these, which are largely video, the woman Helena, though still with the same complexion and hair color, does not really resemble the child-version that Atropos projects. However, one of Helena’s dolls, ‘Anita’ is a carbon copy of the child and is matched, on video, to a few remaining pictures Helena has from her childhood. The woman appears largely emotionless while ‘on camera’, except for a cryptic smile now and again that appears on her face when nothing else is happening. During her ‘exploits’ – i.e. the subject of her recordings – she seems completely disinterested and bored, no matter how appalling the actions of her ‘victims’ are for normal people. As both voice recordings and video recordings continue, it becomes clear that her ‘exploits’ have nothing to do with survival, as she develops ways of putting those within her own group in the same scenarios she had practiced during the poisonings, eventually ending with the man that had been operating the camera. It is only in the last video that she identifies him as ‘Melpomene.’ The voice recordings continue, though much less eventful, for the next 4 years, with the quiet manner of her voice quickly degrading into hysteria and being overtaken by the two strange voices. The final recording, which is almost completely unintelligible, comes through with the woman expressing a distinct need for food. It is largely believed that she was responsible for killing the last remnants of humanity on the moon, with Melpomene as her last human victim, and then, ultimately, dying of starvation.
Abilities (in order of appearance)[/u]
1.[/u]
Age/Date of Birth:[/u] Estimated at approximately 450 years / DOB unknown.
Gender:[/u] Appears to be, and identifies self as female. ‘Her’ true form is amorphous and devoid of sexual characteristics and ‘her’ method of reproduction (if one exists at all) is unknown.
Height:[/u] ‘Normal’ physical form appears to be approximately 4’ 11” – including the ridiculous heels/soles of her boots. Would measure at 4’ 6” sans boots. True form, when tangible, averages a height of 10 feet, but may stretch to approximately 17 feet, and may be compressed to as small as 2 feet.
Weight: ‘Normal’ physical form may possibly break 80 lbs., soaking wet. True form, when tangible, weighs upwards of 800 lbs., compressed or stretched.
Note: Average overall size of ‘her’ true form is something akin to a monster truck.
Blood Type:[/u] Unique; Unclassified.
Dominant Hand:[/u] ‘Normal’ physical form does not appear to favor one side or the other. True form has no defined appendages.
General Description:[/u]
‘Normal’ physical form: Atropos’ projected physical form is that of an exceptionally petite young lady. Due to ‘her’ size and appearance, it is difficult to properly judge ‘her’ age, and ‘her’ doll-like, Victorian-flavored, gothic-ish dress style only adds on an air of youthfulness. Approximate age range, appearance wise, could stretch from as young as 10 or 11 to quite possibly an under-developed 16. ‘Her’ hair is short, ‘heavy’ layered, and is a lackluster gray-white in color. ‘Her’ skin is porcelain smooth and very pale and ‘her’ eyes are a deep maroon that, in most light, appears almost black. The dress style appears in the picture below. The aforementioned boots (see Height) reach ‘her’ knees and, perhaps somewhat out-of-characteristically lace-up like combat boots. ‘She’ is never seen without one or both of ‘her’ ‘dolls.’
Sample picture:
True form: The best way to describe Atropos’ true form is… an enormous amoeba. ‘She’ exists as a giant, mostly translucent blob of goo, with a smattering of debris (which may or may not be ‘natural’ to ‘her’ form) ‘floating’ within the gelatin-like mass. Additionally, a large, maroon-colored ‘nucleus’ is suspended in ‘her’ center. The nucleus is very reminiscent, in shape and texture, of a gigantic peach pit (or seed, if you prefer.) The majority of the time, Atropos’ true form is both invisible and intangible. ‘She’ cannot have ‘her’ projected ‘normal’ form (the girl) exist and have ‘her’ amoeba form be tangible at the same time. ‘She’ can, however, choose to deactivate the girl (whose body disturbingly melts away, like a slug or snail drenched in salt – including the unnerving squealing) which will allow ‘her’ to manifest in the physical realm, or, should the girl form be destroyed by outside sources (monsters, the Senshi and Knights, human weaponry, a trap malfunctioning, ect.) ‘her’ amoeba form will be forcibly manifested in the physical realm for approximately a half hour. (30 minutes is the average time it will take ‘her’ to re-created the girl form after it has been destroyed. Note that if ‘she’ chooses to deactivate the girl, its recreation can occur immediately, thus sending the amoeba-form back into the ethereal.) Typically, a multitude of thread-thin, nearly translucent ‘wires’ will project from the amoeba form when it is visible. These are ‘her’ ‘puppet strings’ – the ethereal connections ‘she’ uses to take control of/manipulate other living creatures. Although incredibly difficult to see (especially on first experience; the Senshi and Knights will slowly develop the ability to pinpoint the ‘puppet strings’ with experience), these ‘wires’ can be severed by physical or energy means. Severing the ‘wires’ will remove Atropos’ control over whichever individual the ‘wire’ was connected to. As the amoeba form is amorphous and ‘flowing’, in theory, ‘she’ can take nearly any shape ‘she’ wishes.
Strengths/Talents:[/u] Is intangible the majority of the time and, thus, cannot be damaged until ‘her’ amoeba form is forced into the physical realm. The only portion of ‘her’ form that can truly be damaged is the seed-like nucleus in ‘her’ center and the goo-like rest of ‘her’ body generally regenerates at a very quick rate. The blob portion of ‘her’ body is also extremely resistant to light, dark, water, wind, and earth elemental energy, and is also highly resistant to physical (i.e. melee, which includes the metal element, non-explosive projectiles, ect.) damage. ‘Puppet strings’ can be used to control nearly any living creature through a kind of ‘suggestion-charm’ method – while insignificant with non-sentient beings, this ‘suggestion’ control manifests in sentient beings as if their actions and choices are of their own accord. That is, there is *no way an individual can recognize that they are being controlled.* (Note that the Senshi and Knights are highly resistant to the controlling strings, which will come as a huge surprise to Atropos.) Additionally, the ‘puppet strings’ are the method by which Atropos ‘ingests’ knowledge; using them to pull information directly out of living creatures or functioning electronic devices. Appears capable of digesting anything to use as sustenance. Combat against Atropos’ girl form is always a function of 3 – dealing with the girl herself and her two dolls.
Weaknesses:[/u] ‘Intelligence’ is a matter of experience, and despite having accessed (at one time or another) a store of knowledge contained within the ruins of Luna, may not be able to properly comprehend or utilize information that ‘she’ has gathered. The blob portion of ‘her’ body is susceptible to fire and lightning elemental damage and, if frozen, becomes exceptionally brittle and weak against physical damage. Once a ‘pore’ has been punched through the blob, the nucleus of ‘her’ form is exceptionally weak again fire, lightning, and physical attacks and regenerates incredibly slowly. (That is, far slower than normal human wound healing.) ‘Her’ true form is also not very fast or agile.
Hobbies:[/u] Setting elaborate traps in order to catch prey, for absorption/sustenance, or merely to amuse ‘herself.’ ‘Ingesting’ the information from devices left within the ruins of the Moon, when ‘she’ can manage to provide the proper power supply for them. Pitting ‘same’ against itself – i.e., forcing creatures of the same species to kill one another. (If ‘she’ gains access to Earth/human society, this will become more group specific – friends/cliques, families, ect.)
Likes:[/u] Ironic endings, pitting ‘same’ against itself – i.e., forcing creatures of the same species to kill one another. (If ‘she’ gains access to Earth/human society, this will become more group specific – friends/cliques, families, ect.) Being alone by way of destroying all other living things in ‘her’ immediate area.
Dislikes:[/u] Trap failure. Nonviolent resolutions between competing parties (excepting when a violent resolution has the violence directed towards ‘her.’) Inability to provide power to suspected information-containing devices. Powerful adversaries.
Personality:[/u] A reflection of the disturbed personality of the real basis of ‘her’ girl form: selfish, deceitful, cunning, and hateful. ‘She’ is twisted, and takes great pleasure in inflicting suffering. Additionally, ‘her’ preoccupation with consumption may be due to the literal end of the girl that ‘she’ projects. (See Bio.)
Occupation:[/u] Is not integrated into any society at start. (If ‘she’ gains access to Earth/human society, ‘she’ will attempt to integrate as per ‘her’ ‘normal’ physical form, i.e. that is, of a little girl that dresses oddly and seems obsessed with dolls.)
Residence:[/u] Luna, Earth’s moon. Atropos’ primary ‘haunt’ is the ruins of the Soljian Metal Gardens, an expansive amusement park located on the outskirts of the remains of the Lunar capital of Crystalys.
Biography:[/u] Atropos’ origins are unknown, even to ‘herself.’ A theory that may develop, based on ‘her’ true form, is that ‘she’ is literally what ‘she’ appears to be – an amoeba that, due to intense and long-standing exposure to ‘tainted areas’ developed into the long-lived, sentient creature that ‘she’ is today. Unfortunately, ‘she’ appears to be one of a kind and, due to ‘her’ inability to remember ‘her’ own origins, appears to have had ‘consciousness’ manifest as a secondary evolution separate from the primary ‘super size’ and tangible/intangible physical evolution.
The mystery of the girl form that ‘she’ projects, however, is quite interesting. According to information that may be found within the Crystalys ruins, Atropos’ ‘normal’ physical projection is, in a way, the reincarnation of the child-aged form of a woman by the name of Helena Ridley. Born 14 years prior to ‘the cataclysm’, Helena was the youngest of 16 children born in the unheralded Ridley family. Earthen transplants to the Lunar capital, the family was, except perhaps for the abnormal amount of children, completely unimportant. Were it not for Helena’s later exploits, the only record in history of any member of the Ridley family would have been the required mention in the census data. Perhaps, prior to Helena’s birth, the family was ‘normal’, but little information of the actual details of Ridley family life was either purposefully purged, lost through damage done during the destruction of civilization on the moon, or never existed in the first place. What is known is that Helena’s birth coincided with her mother’s death and, though details do not exist, it is recorded that the death was not due to complications during childbirth. Two years later, Helena’s father also met an untimely end, leaving the family in control of the elder siblings who, at that time, were in their late teens. Voice recording ‘diary entries’, recorded by Helena herself (and which may be recovered within the Crystalys ruins) indicate that her upbringing was full of physical and mental abuse; that she was branded –by both family and her peers – as ‘talentless, withdrawn, selfish, and disturbed; a perpetual child (even in her teen and later years) that sought only self-gratification and the companionship of her dolls.’ In more than one recording, Helena reports that her ‘parents (by which she meant her elder siblings) wished her to be unreal, to not exist, but that they could not “finish the tasks they started” and truly be rid of her.’ She also reports that she was continuously referred to as ‘a leech, a worm, a mouth to feed that was never satisfied and served the sole purpose of making everyone else miserable.’
As the recordings continue through her development, her quiet, calm voice reports the abuses inflicted upon her in exacting detail up until the point that she reports, with little fanfare that, ‘today, the sky that was filled with stars turned black like pitch, and the rain was replaced by blood and fire.’ From this point on, the recordings take on a different tone. Though still quiet in her own voice, two other, unidentified voices join in on the commentary of the recordings which, unlike the initial set, are not a ‘daily’ diary-like record. Recording dates are intermittent, 15 in total, with each one detailing what she describes as her ‘life of retribution.’ These are, in fact, ‘real time’ audio recordings of the deaths of each of her siblings and all of them follow the same pattern: a quiet introduction stating the date, time, place, and the name of the intended victim. These ‘facts’ are accompanied by the other two voices in the form of whispers and mutterings, much of which is unintelligible. Following the introduction, Helena falls silent, though occasionally the other voices continue, and the recording moves to the ambient sounds of the environment, including the mechanical sounds of her ‘traps’ – that is, the sounds of whatever it is that is happening to her victims – and their screams (when possible; the earlier recordings have much less in terms of victim vocal contribution because, as she remarks, she was ‘too efficient.’) In the case of the later recordings, conversations between Helena and her victims are also included. Once the victim has expired, Helena returns her attention to the recorder, explaining, in detail, the trap she set, how it functioned, the method by which she lured the victim to the trap spot, what occurred to the victim, how, if at all, it differed from what she had intended, and speculation on how the trap could be improved. The recordings tend to end with updates on the destruction ongoing in the Sol system, and how news-reported events have ‘inspired’ her for either the event that was just recorded or for future plans.
Following the 15th recording, there is over a year gap in recordings. The first new recording identifies the two other voices as Helena’s companions: Melpomene and Anita which, appropriately, are the name of Atropos’ ‘version’s’ dolls. Additionally, the explanation for the gap is given: catastrophe has come to the moon, and ‘the world is on fire.’ Recordings are intermittent through the next 5 years, with only casual updates on the destruction that was occurring at the time. Eventually, though, the destruction is complete, and Helena describes the ‘carnival of horrors’ that remains on Luna’s surface as ‘extremely boring with small sparks of entertainment at the expense of panicking survivors.’ At this time, she reports that the few remaining communication connections that exist have depicted only 4 strongholds of humanity left on the moon and, over the course of a year’s worth of recordings, Helena describes how, for the sake of survival, the strongholds turn on and destroy one another, in order to steal whatever resources they can. Of these recordings there is a 22-part set where she describes her own part in the destruction of one stronghold, in which she was an assistant in developing a poison for a particular stronghold’s water supply. The recipe for the poison, its laboratory testing (in real time, with the test subjects being ‘volunteers’ that had ‘stupidly left the safety of their homes’ from other strongholds), and the location and administration of the poison into the stronghold’s water supply. The last 3 recordings in the set are from within the rival stronghold itself, where Helena and others from her own stronghold have infiltrated their weakened target to claim its resources. These recordings are filled with her ‘interviews’ of the slowly fading victims, and include very disturbing stories of her ‘bargaining’ with individuals to commit all manner of atrocities on the promise of a cure… that she states, time and again, to the recorder does not exist.
Though her own recordings offer direct insight, there are other records to her activities at this time, as catalogued by other members of the stronghold. In these, which are largely video, the woman Helena, though still with the same complexion and hair color, does not really resemble the child-version that Atropos projects. However, one of Helena’s dolls, ‘Anita’ is a carbon copy of the child and is matched, on video, to a few remaining pictures Helena has from her childhood. The woman appears largely emotionless while ‘on camera’, except for a cryptic smile now and again that appears on her face when nothing else is happening. During her ‘exploits’ – i.e. the subject of her recordings – she seems completely disinterested and bored, no matter how appalling the actions of her ‘victims’ are for normal people. As both voice recordings and video recordings continue, it becomes clear that her ‘exploits’ have nothing to do with survival, as she develops ways of putting those within her own group in the same scenarios she had practiced during the poisonings, eventually ending with the man that had been operating the camera. It is only in the last video that she identifies him as ‘Melpomene.’ The voice recordings continue, though much less eventful, for the next 4 years, with the quiet manner of her voice quickly degrading into hysteria and being overtaken by the two strange voices. The final recording, which is almost completely unintelligible, comes through with the woman expressing a distinct need for food. It is largely believed that she was responsible for killing the last remnants of humanity on the moon, with Melpomene as her last human victim, and then, ultimately, dying of starvation.
Abilities (in order of appearance)[/u]
1.[/u]
Anyway creepy backstory is creepy.