Entry tags:
- * setting: gallipoli 1916,
- armitage hux [star wars],
- ashitaka [princess mononoke],
- bucky barnes [marvel],
- daenerys targaryen [asoiaf],
- eren yeager [attack on titan],
- hei [darker than black],
- heine rammsteiner [dogs],
- kylo ren [star wars],
- lup [dungeons & dragons],
- mamoru hijikata [until death do us part],
- merlin sawall [the chronicles of amber],
- midnighter [dc],
- mordred [fate],
- morrigan [dragon age],
- noctis lucis caelum [final fantasy],
- prompto argentum [final fantasy],
- rey [star wars],
- ryuji sakamoto [persona],
- siegfried [fate],
- soldier 76 [overwatch]
AND THE ANZAC LEGENDS DIDN'T MENTION...
AND THEN SOMEONE YELLED OUT "CONTACT!";
and the bloke behind me swore

THE SILENT WAR
The news of the day of the retreat spreads like wildfire through the Trenches. Leading up to the final date, all soldiers on the ground are instructed to limit their gunfire, to make it look like the usual traditions for warfare, which have determined much of human history up until this point: no one really goes to war in winter. Everyone is to maintain a verbal and physical presence, but the time to confuse the Turks has really become paramount. At times, whole sections are ordered to be perfectly quiet until the last possible second and then spring out before the Turks can get too close.
Which is just how it is supposed to be. In fact, for COST recruits, there's a real sense that this might just go according to plan.
Around this time, the Rear Guard signup starts. COST recruits are met with some surprise by Captain Lewis; he will blink in surprise at a group so new wanting to volunteer so readily, but he's glad and gives everyone who joins a big warm handshake.
Each day gets closer and the mood of the soldiers becomes more jubilant and tenser; the erratic sense of relief that they might be leaving what has become the graveyard of so many friends and, often times, family, combines with the frustration of not being able to do anything but wait. This leads to more than a few fights breaking out, often over nothing important. Just the edge of temporary relief.
Then, before dawn on Jan 7th, the evacuation begins in earnest. It's possible to see it from the top of some sections: a bustling populace until it trickles down to the ghost of the Trenches, where there is nothing left but the rear guard. It's a smooth, efficient evacuation.
The Rear Guard
This is a skeleton army, just enough to make it seem no one has left. Everyone is encouraged to come up with ways to make it seem like there are more men than there actually are.
The local soldiers have come up with a particularly sneaky one - a rope is wrapped around the trigger of a rifle, just loose enough not to pull it, and from the end of it hangs a bucket. Another container slowly drips water into the bucket until it fills and drops, pulling the rope around the trigger and firing the gun. Soldiers are tasked with emptying the water, refilling the cannister, or checking the gun if it looks like it has jammed.
Outside of that, if someone has a sneaky idea to keep up the ruse - even if it's lighting small fires or singing loudly in a chorus to give the notion of people still around - it's all encouraged.
THE THUNDER OF GUNS
Everything is going well. It's not even that worrying when a thick mist comes up, heavy and difficult to see through. But, for those with powers, it prickles oddly on bare skin, followed by a pressure that builds in the back of the mind. It seems to dull any extra powers or senses; magic and its ilk are still usable, but require more concentration to reach now.
In the stillness of the night, however, there is no breeze to move the fog on and it settles like oil through the trench.
It's 1am when the first shell drops. It falls to the east of the recruits' position at Lone Pine. It's a shell that comes down and splits apart the night air in an explosion of shrapnel, dirt and heat. Then a second, then a third, now starting from both sides.
All the soldiers' clamour out of the way and Captain Lewis can be heard shouting over the din: "Into the Tunnels!"
But not everyone can make it. The shells are coming steadily now and one step in the wrong direction is the difference between life and death in such a small space. It's chaos - some soldiers are killed outright. Others get buried under the debris and dirt. Others catch shrapnel that, if not fatal, is enough to throw them and make it hard to get up. But COST's mission is the same as it always is: save as many of these men's lives as possible.
There are four direct entries into the tunnels, all about four or five meters apart, and they're all interconnected within the tunnels themselves.
One by one, however, shells fall and destroy the entrances to the tunnels.




WARTIME ARCHEOLOGY
It takes another three hours for the bombardment to stop and, once the tunnel entrances collapse, it becomes very dark in there. Might be time to fish out a match and strike up a torch.
While Officers previously told soldiers to keep out of the tunnels and otherwise left them ignored, these tunnels are huge. Not like the ones in other sections of the coast; here, they seem to go far into No Man's Land. They're crudely constructed and only some sections are reenforced with heavy beams of wood. But once journeying into them, there are all sorts of things to be found. There are old gas lamps that can be used to light your way or hung on a secure nook or cranny. The stone has been worn smooth in some sections, and other parts have been carved with graffiti of the soldiers who cut them out.
Some locations go down a few steps, while others go up and small holes seem to have been dug through the roof of the tunnels.
It's definitely best to get away from the front of the tunnels, where the bombing is still going on. There are wounded to be seen to and secured from bleeding out, people to find to make sure everyone is still alive. Maybe you want to go farther into the interweaving tunnels to see what else can be recovered. Or maybe you're being stubbornly sensible and looking for a way to dig your way out again, once the bombs stop firing.
Either way, it's a long, exhausting wait in the dark as the ground shakes, showering dust and rocks over everyone.
INTO THE DAWN
The sun has risen when the firing stops - and it's time to search for a way out of here.
Stepping into the light reveals utter destruction. The concentrated bombing has done its work; everything is strewn or buried in dirt and rubble. Machine guns are overturned and parts of the Trench have collapsed; going over the top would be disastrous, given that the Turks have no idea what is happening and will pick off anyone who sticks their head up.
There also isn't...anyone else around. All that's left is this one segment of the rear guard, just 500 men and the COST soldiers. It isn't possible to discern if the other groups have been evacuated or killed at this point.
It's time to consolidate, count their losses, see who is alive and who isn't, and salvage what supplies are left after some digging clean up is done. Work out who needs to stand watch. For now, Captain Lewis' orders are to use the tunnels as a new base of operations.
SOMETHING WICKED THIS WAY COMES
They appear first as a shimmer of off-light, no more than a haze against the resettling mist. A faint shape against the grey - the long lines of a dog's face, almost Jackal-like, in a clean black uniform that gives more to the appearance of shadows - moves closer, but not too close. They could almost be a trick of the light, out of the corner of your eye. Almost intangible.
They're not moving closer, however, choosing to hang back in the rubble of the Trenches. The ANZAC soldiers don't seem to notice them at all.
Ten minutes after they're first spotted, Commander Grothia issues a priority message:
Contact. Regency soldiers. Do not engage.
If a shot does get fired that way, whether it's from Turkish or ANZAC soldiers unknowingly or from COST operatives: it's quick but, as the bullet seems to come into contact with them, the air around them shimmers blue, like it's hitting a field of light. This effect seems to be stronger when they're standing close together and, as of now, they remain unhurt.
Moving closer to them increases that feeling of mind fog on powered characters; for the unmagical, a sense of unease prickles up. It's a feeling not unlike the beginnings of the time-step, the hum of sensation that marks a transfer through time. Veteran recruits will easily recognize the buzz that dances through their bones before it stills as they move away; rookies might recall it from their initial arrival from BASE.
READ THE OOC INFOPAGE.

( CLOSED: achilles )
Finally, he's going to straighten up a little, and address Achilles who's nearby doing the same sort of shit as him, hauling debris and dead bodies. ]
—Hey.
Do you see them?
no subject
They've worked out a system between the two of them, carefully and respectfully laying the bodies of the dead in a cart that they'd later pull towards their burial grounds. They search through pockets, collecting valuables along with their dog-tags, all things that the family of the deceased would want to keep in their memory.
Currently, Achilles is holding a locket in his hand, staring down at the picture of a woman inside. Heine manages to pull him out of his thoughts, though. ]
What is it? [ But he sees it from the corner of his eye as well. Figures in the distance that are neither recognizable as allies or enemies.
This is when they get a notification from the BCE. Achilles pulls at his collar, tapping at the piercing to quickly look over the simple, clear message. ]
It's our enemy.
no subject
Seeing them now, it makes something in his head crouch low and growl, and while Heine doesn't quite repeat the same reaction on the outside his eyes do narrow slightly, teeth bared in a sneer. Maybe it's because of the visual similarities of these barely-visible misty figures to the ones he's more familiar with. It's not even the association of them specifically, really, but rather what they represent. ]
What the hell do they mean, not engage?
no subject
It means what it says. They don't want us to fight the enemy or reveal ourselves as COST. [ That has to be the reason, but he can't know for sure. ]
I don't like being left in the dark, though. They're here for a reason. [ He's willing to abandon his post if it means getting a closer look. He'll cock his head as a way of urging Heine to follow him. ] Let's see if we can get some info.
no subject
But men can be monsters too, the lot of them.
Heine is gonna shrug, eyes moving from Achilles to the figures shrouded in mist in the distance ahead. ]
If we don't do either of those things, I don't see why we can't get close.
no subject
He'll lead the way, drifting more towards the beach so they can seek cover somewhere. As they get closer, though, a haze seems to come over his mind, something like a drunken stupor. He places his hand over his head, cursing. ]
That fog from earlier -- it was them all along.
no subject
They have gone a short way, enough for them to be able to make out the figures in the fog again, when Achilles staggers drunkenly, a hand over his head.
For now, all Heine can feel is ... A prickle, like cold water poured onto his back, so he's just going to take a step back from the other, scowling. ]
What do you mean?
no subject
Don't you feel it? [ He clenches and unclenches his hand, testing his strength. ] It happened earlier, too.
The fog is draining my mana, bit by bit. [ Meaning that it's ultimately going to affect Noctis. ] It must've been them.
[ Nodding over to the Regency agents. A bit of agitation wells up within him as he starts to piece together the previous events. They must be to blame for the attack. ]
Those bastards must know COST is here.
no subject
Do you want to go back?
[ it's said offhandedly, almost sounding casual, but his eyes are careful as he looks down at achilles. ]
no subject
Do you think I'm the type to run when it looks like the odds aren't in my favour? [ He grins a bit, but it's more like a menacing scythe than a friendly smile. ] I have a Master now, so I won't be so easily defeated.
We'll retreat at some point, since we can't fight them. This is still a prime opportunity to learn more about the enemy.
no subject
Whatever. [ he shrugs, turning away with an unconcerned gait, hands in his pockets again. ]
Not my problem. Let's keep going, then.
no subject
But that shouldn't be a problem as long as we're mindful.
no subject
He doesn't know how much Achilles will be affected by this fog, and privately he doesn't think much of the bravado and pride that the other displays outwardly, but he'll just let him do what he wants to do to soothe his injured feelings. He'll figure something out when it comes down to it, later.
They move closer, and even at first glance it's clear that the Regency members are ... not exactly mindful of keeping a lookout, either. They seem a little preoccupied. ]
no subject
And once they're out of earshot: ]
They're surveying the area and not much else, it seems.
no subject
[ his voice is quietened down to a hush nevertheless even though they're a safe distance away. Heine glances back behind his shoulder, and crouches down lower still, pulling Achilles down. ]
It must be something important.
no subject
We'll retreat for now.
You need rest, anyway.
no subject
[ incredible. this guy is a fucking ass. ]
You're the one who looks like you'll keel over any second.
no subject
I'll be fine once we get away from this mist. I'm a Heroic Spirit, so I only need mana to sustain myself.
You're human, though. [ He can see how tired he is by the prominent bags under his eyes. ] Conserve your strength for the battles ahead.
no subject
anyway, all of the stuff that Achilles just said is basically incoherent to Heine. Something about mana and spirits. Whatever. ]
It's fine. [ it's not like he's only been on some fucking picnics. he's used to it. ]
no subject
Not that he isn't stubborn himself. He's at least got some sense in him, though.
With a sigh, he cocks his head, gesturing for him to follow him back to their new campgrounds, which is the tattered remains of where the trenches used to be, near the tunnels. It's cold and most of the makeshift beds have been ruined or taken up by weary soldiers trying to get some rest. The only other place where one could comfortably sleep would be the medical tent, but it's likely full.
Whether Heine follows or not is up to him, but he's going to go back into the tunnels and check on Noctis, whom he forced... to sleep. There's more pep to his step now, since they're out of the mist and he's closer to his Master. ]
Then we'll go back to work. Just let me check on my Master, first.
no subject
Yeah, go ahead.
[ he doesn't really understand any of the master thing... Maybe it's some kind of pervert thing? Hey, he's not gonna judge. ]
no subject
They speak for a bit and Achilles seems to be nodding in agreement. When the captain leaves, he makes his way over to Heine, scratching at his head. ] Looks like we're being rotated off-duty.
So... have you eaten anything yet? [ The grub they have isn't so appetizing, but it can fill one's stomach and that's all that matters. ] I was thinking of fetching some fish.
no subject
Where?
[ it's not like he can snatch them up from the air... The sea, then? ]
no subject
It'll be risky, going out that far, but it should be fine. I mean, you can heal and I'm invulnerable.
no subject
Heine makes a sound in his throat that's part-acknowledgement to what Achilles says, but mainly it's just a general grumble. ]
Think it's the same thing, do you?
[ whatever... Is it really worth it, to get some fish?? He's conflicted now. ]
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
1/2
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)