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WWYP XI - Solus of the Spheres

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Aruun

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Sorry, I didn't finish it in time. :x Oh well. How should I drop out of the competition?











Just what I have so far - I'll keep it updated. I just want to give people the chance to read and comment.

Oh, and don't worry, I'm not using any of the (one page of) content I've already written. Let me know if I need to take the stuff posted in creative minds down. The idea just fit so well, and I'm really fond of it, so I just couldn't hold myself back.

Also, don't mind the fact that I was bored and I made a cover for it - maybe it'll help you visualize? (and yes, those are two people floating between the spheres)














And the LORD God said, "The man is now become as one of us, knowing good and evil. He must not be allowed to reach out his hand and take also from the tree of life and eat, and live forever."

Genesis 3:22​











CHAPTER 1​


The garden was particularly detestable this cycle.

Cheza couldn’t help but wish that Adam was there with her, but obviously no such thing was allowed. Instead, she found herself lying naked, face-down in the luscious grass, wishing no one would notice her. Begging, really. Please.

Although she had temporarily denied herself the sight, she could still hear every revolting squeal, giggle, moan and grunt from the people around her. It filled her with anxiety, jealousy, and dread; but most of all nausea. She slowed her breathing, filling her lungs slowly and carefully, exhaling steadily; she tried to imagine the sound of dull, buzzing metal; of scuffling shoes; of anything but the nakedness and the green pastures.

“Hello, Cheza.”

She wasn’t sure who it was – but simply because of the circumstances, she thought, based on his voice, he must look truly repugnant.

“Enjoying the smell of dirt?” he continued.

“Yes, very much, actually,” she lied.

Her spine curled and shivered as his fingertips traced her lower back. Cheza clenched her jaw, the soft touch at once both pleasurable and excruciatingly painful.

He leaned in, holding his lips to her ear. “For all to be yours, you must become all’s,” he whispered, in the perfect cadence achieved only with recitation; and with a hand on her hip, rolled her over as their bodies pressed together.


***

She slogged through the sphere’s opening, stepping across the threshold of biological to synthetic – a threshold Cheza was most joyous to cross. Her feet soon found the smooth comfort of sleek, shining metal. The membrane closed behind her as two identical figures rushed towards her, one bearing a white jumpsuit.

The ciphers swiftly and robotically slipped her into her clothes, yet with such a lack of interest it made her, in her current state, refreshed. Once they had finished, they stepped back and hung there, perfectly still, as empty husks. They were beautiful to watch. Each had the same fallow complexion, auburn eyebrows and hazel eyes; identical sinewy bodies, with gangly limbs and slender fingers; all wore glistening bald heads and minimal attire; but their beauty came from their graceful, stoic movements, completely perfect yet lifeless, like a thousand metal gears spinning in unison.

Cheza rubbed her eyes and uttered, “Quarters.”

The cipher turned to face the chrome wall and placed a hand on it. A perfect cube rose up from the floor behind Cheza, and she gratefully took a seat. It began to glide across the smooth floors, in exact right angles, as if there were no friction – of course, there was no friction.

She bent her head down and stared at the white cloth covering her knees. She couldn’t even remember his name. In fact, she wasn’t sure she ever knew it. It was discouraged, of course, keeping the same person for so long – Cheza didn’t know what she had expected with Edward. Of course it would end, and of course the new would come; was that not the very workings of life itself? Yet, why did the thought of anyone else sound so unpalatable?

The cube came to an opportune stop and, grateful to abandon her current thoughts, she stepped off and ambled through the oval permeation to her quarters.
 

Clownbot

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Aside from the fact that I can't understand what the hell is going on so far, I think it's alright. :)
 

Ocho(*8*)

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I think its really good except for a couple little things that I'm probably wrong about.

"Begging really. Please" - I don't think it seemed right for the third person narrator to be saying please.

"Oval permeation into her quarters." - Permeation doesn't seem like the right word there. I'd go for some synonym of doorway.

I really liked the word choice besides that.

Oh yeah and it seems like you're starting a novel which might go a little long for the WWYP contest but whatever.
 

Aruun

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Thanks for the comments, guys! And yes, I know it's confusing right now - but most things will be explained pretty soon. I prefer to try and explain throughout, instead of having the first few pages just be a lecture.

And I had the exact same thoughts on both "please" and "permeation," so I'll probably change them when I add some more content later. And it probably will go over the word limit, but I'm shooting for 3000 words. With serious editing I think it'll be perfectly achievable, and not TOO over the limit.

Oh, and I added the verse from genesis to the beginning; it's what much of the story revolves around.
 

El Nino

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I have no problem following this. I have an idea where it might be headed thematically.

"Begging really. Please" - I don't think it seemed right for the third person narrator to be saying please.
The piece appears to be in close third person, and it's accepted to use personalized lines in the narration, as long as those lines reflect the thoughts or feelings of the POV character. In this case, they do. It's the same with the lines in this passage:

Of course it would end, and of course the new would come; was that not the very workings of life itself? Yet, why did the thought of anyone else sound so unpalatable?
I also disagree with the assessment of "permeation." It works better for me visually than a word like "door," which makes me think of a structure that is more familiar to me, like the door to a modern apartment or something.

The ciphers swiftly and robotically slipped her into her clothes, yet with such a lack of interest it made her, in her current state, refreshed.
This phrasing is awkward. "With such a lack of interest" describes a person(s), not that person's actions. "It," I'm taking as referring to the actions of the ciphers, since it would otherwise be "they." I think it'd help you to make sure your descriptive phrases match the things they're describing. Both actions and people/subjects can show lack of interest, but only people/subjects can have lack of interest.

It began to glide across the smooth floors, in exact right angles, as if there were no friction – of course, there was no friction.
Why say "as if" in that case?

Also, I like the artwork. It would make a good banner for the current contest. But, considering that this IS a contest, and no one else is likely to have artwork, it might be a little unfair for you to include that image with your entry. Like your note says, it may help people visualize things in your story. That's something of an unfair advantage.
 

Alphicans

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Wtf is even happening here? Did she get *****?

Also some of your adjectives are used really weirdly. Especially the luscious grass. Make sure the adjective fits the mood before using it.
 

Aruun

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Thank you for the comments!


This phrasing is awkward. "With such a lack of interest" describes a person(s), not that person's actions. "It," I'm taking as referring to the actions of the ciphers, since it would otherwise be "they." I think it'd help you to make sure your descriptive phrases match the things they're describing. Both actions and people/subjects can show lack of interest, but only people/subjects can have lack of interest.
I understand what you're saying. I thought it was clear that their lack of interest in HER was what was refreshing. Maybe I'll re-word that later.

Why say "as if" in that case?
Haha, because I wrote it exactly like how it looks - I wrote as if, and then thought, "well, actually there IS no friction," and thought it was funny to keep it in. I'm trying to bring out the personality of Cheza - but I suppose that is more so from the narrator's perspective and thus confusing. I'll think about it.

Also, I like the artwork. It would make a good banner for the current contest. But, considering that this IS a contest, and no one else is likely to have artwork, it might be a little unfair for you to include that image with your entry. Like your note says, it may help people visualize things in your story. That's something of an unfair advantage.
Oh, I never thought of it that way. Do you really think it's an unfair advantage? Maybe I'll ask one of the judges and if they want me to take it down I will.

Wtf is even happening here? Did she get *****?

Also some of your adjectives are used really weirdly. Especially the luscious grass. Make sure the adjective fits the mood before using it.
Haha, not exactly, no. This is sort of a dystopian society which takes communism to the max, so there IS no such thing as ****. Everyone sleeps with one another. There are places within the spheres (where this is currently taking place) called gardens, full of rolling hills of grass and trees and an artificial atmosphere, where people of all ages plays sexually with one another. If you've read brave new world, think of that. Cheza is unusual in this society in that she only WANTS one person, not everyone; in fact, she is an outcast in many ways in this society, as you'll see.

Also, I know very well what luscious means:

1. highly pleasing to the taste or smell: luscious peaches.
2. richly satisfying to the senses or the mind: the luscious style of his poetry.
3. richly adorned; luxurious: luscious furnishings.
4. arousing physical, or sexual, desire; voluptuous: a luscious figure.
5. sweet to excess; cloying.

I chose it because it conveys the lushness of the grass, while also helping to emphasize the sexual atmosphere of the garden.
 
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