Loki, Devourer of Hearts (
scarred_grin) wrote in
milliways_bar2012-11-17 03:42 pm
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(a quiet afternoon)
It's hard being the other one.
With all the drama and arguing going on in her life, all Pyrrha wants is some peace and quiet, somewhere tension-free where she can work on her latest project. Which is why she's down in the bar today (dressed down, tiny shorts, faded Bauhaus t-shirt, sneakers, no makeup except her tattooed-on eyeliner) with the nervous manner of a kid whose parents are fighting in the other room.
But her latest project is something to see--a scale model of a few blocks of the city streets where she used to live, handmade and intricately detailed, a set for a tiny photo shoot. She's made people, too, to inhabit this set, with a sort of 50s-B-movie feel to them; the idea is to capture just the right angle so the destruction going on outside the Window appears to be the sky over the city, with its residents freaking out accordingly.
Setting it up is slow-going, though, with a lot of hunching down, looking up and repositioning people, cars and props. How do claymationists do it?
Totally botherable.
With all the drama and arguing going on in her life, all Pyrrha wants is some peace and quiet, somewhere tension-free where she can work on her latest project. Which is why she's down in the bar today (dressed down, tiny shorts, faded Bauhaus t-shirt, sneakers, no makeup except her tattooed-on eyeliner) with the nervous manner of a kid whose parents are fighting in the other room.
But her latest project is something to see--a scale model of a few blocks of the city streets where she used to live, handmade and intricately detailed, a set for a tiny photo shoot. She's made people, too, to inhabit this set, with a sort of 50s-B-movie feel to them; the idea is to capture just the right angle so the destruction going on outside the Window appears to be the sky over the city, with its residents freaking out accordingly.
Setting it up is slow-going, though, with a lot of hunching down, looking up and repositioning people, cars and props. How do claymationists do it?
Totally botherable.
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Loki feels left out far too often, as it is.
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As long as they're not mean-spirited, anyway.
"Oh, and I met Yrael the other day--he was really nice. We talked about cats and New Orleans and food and stuff."
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He gets up.
"I shall, in any case, go fetch us some wine now, for this calls for a good one. We may be both not quite alive, and in strange places, but we promised to stick together, and have whatever future such as us can eke off the universe. I think that merits celebration!"
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Life--or existence, or whatever you'd call it--works out funny sometimes. But it still works out.
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And probably her year, and maybe even her decade. Needless to say, her mood is a lot better than it had been before he'd come over; and she hurries a bit more with her setup, wanting to get it all done so she can get to the celebrating.
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The mouth-piercings, the red hair--Skaði has no doubt that this is Loki. But of all the shapes he could've taken, why one so... so scrawny, so pierced, so tattooed? Does he enjoy pain that much?
"You've got a lot of nerve, being here," she says, approaching the table.
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"...hi?"
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"Is this how you intend to destroy me? By building toys?"
She wouldn't put it past him, of course--who knows what sort of magic he might be doing, with this.
But it looks so stupid--but then, so did the business with the garter.
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She starts to laugh, but this lady is serious. Serious and pissed off and maybe a little crazy-looking.
"Look, I'm sorry, but you got me mixed up with somebody else. I don't know you. I'm sure not trying to destroy you. Or anybody else, either."
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She's very imposing naturally, and even more so when she tries. Giantess blood.
"Look at you. Look at your hair, look at your mouth."
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It's unremarkable today, all her own and not particularly big. Sure, it's pulled back in a sloppy way, but who cares about that? It's a quiet afternoon and she doesn't have to impress anybody.
"What about them?"
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Afraid of being discovered.
"Loki," she says, making no effort to be particularly quiet. "You scar-mouthed horsefucking whelp, you can't keep hiding--if you're going to threaten me, you'd better be prepared to fear me."
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"Lady, I don't know who you are," she says, "and I don't know if I should be flattered or what, but--I'm a goth. I used to date a guy who did piercings. It's not like anybody held me down and sewed my mouth shut; it's just jewelry. And before you ask, these aren't my natural hair colors either."
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He's so maddening, and always has been. The way he doesn't get angry, just stays calm and keeps provoking her--that's why she's tried to kill him, all those times.
"Come outside and we'll settle this. Or are you afraid to face me where security can't save you?"
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Even when those problems are scary strange women who want to fight her, for reasons she can't even imagine.
"Look," she says, quietly but firmly. "I don't know what you're talking about, and I don't want to fight you. Just... just go away. Just leave me alone."
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She may not know what Loki might do, but she is not afraid. She's got nothing to lose.
"You'll come at me with your little dolls, this time? Fuck your little dolls."
And in one sudden movement, too quick and too unexpected for Pyrrha to stop her, she scoops up the city-model and hurls it against the wall.
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"I spent three weeks working on that," she whispers, crawling over to see if there's anything she can salvage.
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She's practiced that smile. Centuries of striking terror into the hearts of her opponents in battle, or just people unlucky enough to run into her when she's in one of her moods.
Like she is today.
"Maybe you should have built it sturdier, then."
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The buildings are toast--sure, she could try to piece them back together, but they were just painted balsa wood. The breaks and repairs would show. She'll just have to build it over again.
The people seem to be okay, for the most part, but their world is gone.
"That was my house. I used to live there."
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"What are you doing?" he demands of Skaði, staring at the destruction.
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