Today I received my diplomas, so I can say that I finally… FINALLY!! finished uni 🙊
Now the world of adulthood is waiting for me…noooo i don’t want to grow up!, I finish an important stage in my life and now it’s timeto start a new one. I couldn’t have done t without the love and support of all of you so THANK YOU!! ❤ There were many times that i wanted to quit and i even questioned my desire to study what i studied, but i made it, it wasn’t easy but i did it ☺ and now i feel proud of myself for not giving up. And here is a little message for all of the students out there, “I know it’s hard, the stress becomes your closest enemy, and self doubt is a regular thing, BUT DO NOT GIVE UP!! remember why you decided to do it, keep your goal in mind and try as hard as you can to overcome these problems, because at the end you will make it, you will accomplish your dreams and the happiness will overwhelm you, IT IS WORTH IT! , so do your best and keep fighting!” 😁
Two weeks had pasted since Y/N left Nat the voice mail,
nobody had heard from her since. Steve tried to move past it, waking up, missions,
the gym, sleep, repeat. The team trying to avoid bringing up the subject of her
in his presence. Lying awake most nights, his pillows and sheets smelled like
her in his refusal to wash them, it was what he had left of her, bringing back
the last night he spent with her.
So what options for survival are left? a) Space - they would have to find a spaceship with fuel somewhere. Not very good plot, but possible. They would also have to find food and water for crew for long enough time (5 years?). b) They find a shelter on Earth. The problem of food and water remains same. Only possibility is shelter for few, rest in some form of cryo sleep c) They find 4% of surface not hit by radiation and live from it. Problem: how do you transport several thousand people there?
None of these options is good. Nightblood will not save them - the problem with food and water remains. So - what are your ideas?
All of them. There is no good solution. Every plan is bad. They’re going to have to cobble a solution together using bits and pieces of every solution to make it work.
They’re still dropping hints about what solution might be out there. None of it has come clear yet. We still haven’t found what we need to find, but they’re leading us there, so I’m sure we’ll be discovering more. It seems as if the first apocalypse is a lot more linked to the second apocalypse than anyone first realized. The stories are coming together. They’re going to need the the solutions from the first time to get them through this one.
there! Remember, back in December, when we had an “End-of-the-year Question
Extravaganza Blog”? And how there was going to be a second part?
Well, FINALLY, here it is! Round two of our answers to the questions that you
sent to us via Twitter, so
WARNING: Spoiler alert, just in case! And maybe some language.
Question: which character from Senran Kagura New
Wave would you most like to see become playable in a future game
There are so many! Kasumi, Kumi, Fuga, and Bashou
Kasumi - shy girl that can code her way into your
heart? aw yuss.
Kumi - ngl I like foxes. I’m also hella curious what
her animations would look like…
Fuga - dude it’s fireworks coming from a shamisen who
doesn’t wanna SEE THAT. AND THOSE
Bashou - paintbrushes: creation, destruction, or the
beauty that comes from their combination? tune in next time on quiet girls that
can artfully kill you
Fuga. I’ve loved her design ever since I first saw it and I’ve
actually begged Takaki-san in person to put her in one of the core games.
Picking just one is hard, so these are the ones are the top of
Meimei – She fights by throwing bombs shaped like steam buns.
Ukyou – For some reason, I really like the idea of a machine gun
shaped like a bass guitar. She’s also a cutie, I like her design.
Seimei – I like the fact that she rocks pajamas. I wish I could
wear pajamas all the time…
Question: What is your most
favorite game that you have localized And why?
Trails of Cold Steel II. I cried so much while working on it,
haha. It was the game that made me feel like I was really growing up as a
writer, and I was so proud of the effort I put into that during every step of
the process. Everyone knows I love the series, but for now, that game has a
particularly strong place in my heart because I feel like I grew as a person
together with those in Class VII (is this too cheesy? lol).
Definitely the EDF series. I’ve been a big fan of the series
since the first EDF came out in Japan, but also I learned a lot from the
producer and the dev team. It was a very exciting to work on, and luckily,
EDF2: Invaders from Planet Space was selected as a D.I.C.E Award nominee.
Also, Touhou: Scarlet Curiosity was a favorite, too. The game is
very fun and pretty. I didn’t really know about the Touhou series at first, but
this was a good title for Touhou beginners like me to learn what Touhou is. The
dev team is very passionate and professional. I was always impressed by them while
working on this.
I have a few personal favorites: Estival Versus because I love
the character banter, Deep Crimson for the same reason, and Suikoden V because
it was my first real localization project and I still have a soft spot for it.
I have a soft spot for Ys: Memories of Celceta. It was published
before I started working here, but was the first XSEED game that I played.
Even though we didn’t really localize it (just published it
physically), I’m a big fan of Shantae: Half-Genie Hero. Working with WayForward
was an absolute treat and I’m so glad that we have a chance to do something
I think anyone who knows me knows my answer to this, but in case
you don’t: RETURN TO POPOLOCROIS, BABY!! ;) The very first game script I ever
translated was part of the script to PopoloCrois Story II on the PS1, which I
translated in play-script format and uploaded to GameFAQs as a translation
guide. After that, the very next thing I translated was all 51 episodes of the
two existing PopoloCrois anime. I am a PopoloCrois super-fan, and when the
opportunity came along to work on a PopoloCrois game, to say I was ecstatic
would be an understatement. Getting to officially write English dialogue for
Prince Pietro Pakapuka, Narcia the forest witch, the White Knight, and the
GamiGami Devil was an absolutely amazing experience, and getting to sit in on
voiceover sessions and help shape the way they sounded in English was the icing
on the cake.
Corpse Party is a close second, though, because I was able to
get much more graphic than I’m used to, and it was a bizarre amount of fun
describing some of the most horrible acts of mutilation and torture imaginable.
It was weird working on Corpse Party and Fishing Resort at the same time, as I
had to keep stopping myself from inserting extremely graphic language into the
Fishing Resort script.
And Akiba’s Trip: Undead & Undressed gets an honorable
mention, as the three weeks spent in voice-recording for that game may be the
most fun I’ve had in my seven years at XSEED.
Question: Where do you face the
most unexpected challenges during the localization process?
The thing about unexpected challenges is that they’re…well,
unexpected. The things we run into the most frequently are things we know to be
watchful for based on past experience (which is why we usually catch the major
stuff). A good example of an “unexpected challenge” would be
realizing partway in that we don’t actually have all the text files for the
game, even though the developer said they gave us everything. Working on games
that are still in production also has the tendency to turn up a lot of
unexpected issues, particularly when the developers change things and neglect
to mention that they were changed. If you learn that a localization was being worked
on while a game was still in development, know that it was probably a huge
headache for the translators and editors compared to working on something that
has been finished and more or less finalized.
Sometimes it’s because there’s an honest mix-up and they thought
they’d given us everything. Other times there’s a breakdown in communication
along the way, as can occur when information has to pass through too many
hands. So…ultimately, miscommunication is where we stand to face the most
unexpected challenges. It varies from project to project, and we know to be
mindful of it, but we can never fully predict when this sort of issue will pop
Question: Where do you try to
draw the line between remaining loyal to the original and changing to fit the
region you are localizing for?
Every editor will give you a different answer for this, so I can
only speak personally, but here’s where I stand on this issue. When I localize
a game, I absolutely want the intent of the original to come through. That’s what
people are coming to the work for - what they want to experience. However,
sometimes, truly conveying the spirit of the original work necessitates
departing from the exact language of the original.
If one facet of my job is about accurately conveying information
and character relationships, another facet is to ensure people who buy our
games are entertained and engaged. That happens best with a script that feels
fairly natural in its English phrasing. A quick example is how, if you listen
to people converse, most people make frequent use of contractions. They’re a
natural linguistic shorthand for English, so it feels natural to make broad use
of them in character dialogue. But I often see dialogue written without them
(like, where it doesn’t strike me as an intentional editorial choice). Without
contractions, at the most basic level, you’ll get dialogue that sounds wooden
and has less flow to it (Tom and I often compare it to the speaking style of
Data, from Star Trek: TNG), but in some cases, using or not using contractions
can subtly alter the way we perceive a line, especially if there’s no
voice-over to clue us in. “I cannot believe he said that about me”
carries a bit more of a testy tone than “I can’t believe he said that
There are also cultural differences that, when translated over
on a 1:1 basis, won’t elicit the same response from an international audience,
so some tweaking is necessary to make sure Western players of a game experience
enjoyment similar to what Japanese players would’ve felt. This is admittedly a
touchy issue, since a lot of this involves getting a good feel for the
characters’ personalities, and so is inevitably colored by an editor’s own
interpretations of them. In a blog I wrote before the first Trails of Cold
Steel was released, I laid out some cases where I basically felt that the
characterizations provided in some places by the original script were lacking,
so Kris and I embarked on a mission to strengthen characterization not through
any sweeping gestures, but just by bringing certain traits more clearly to the
fore in scenes specific characters were in. It’s something you might notice if
you had the Japanese and English scripts side by side, but it never stood out
to most players, and from anecdotal accounts I’ve read many places online, I
think this initiative of ours was very successful. Certainly, I think it
brought a lot to Rean’s character in particular.
Ultimately, I want a localization to keep all the information
the original script gave, but sometimes I re-frame how that information is
conveyed because I value entertaining/engaging writing and want our games to
feel, as much as possible, like the English scripts could just as well have
been the original scripts.
“So, where do I draw the line? As someone who always wants to
push for better writing, I generally won’t make an edit - even if it would
sound great - that would result in dropping factual information conveyed by the
original. Not necessarily on a line-by-line basis, but definitely on a
scene-by-scene basis. Ultimately, I want a localization to keep all the
information the original script gave, but sometimes I re-frame how that
information is conveyed because I value entertaining/engaging writing and want
our games to feel, as much as possible, like the English scripts could just as
well have been the original scripts.”
This question is too broad and no one should have one answer for
it. It depends on the game itself, the context, the importance of the topic in
question in the scope of the story, the emotional impact it’s supposed to make.
The most generic answer I can give is that we should always remain loyal to the
spirit/intent of the original game, and if anything comes under question, we
should consult the dev team and get their perspective on it.
I guess an example that’s happened a few times throughout Trails
is one where Japanese honorifics are dropped as people become closer. A big
deal is made out of it, but that sort of thing doesn’t exist in English. At the
same time, there’s no reason to force it in the English version because the
name-dropping isn’t necessarily the focus–it’s the result of characters
becoming closer. The intent is the bond, and as long as you write the scene so
that English players understand these characters have become closer thanks to
what’s going on, then I believe we’re still loyal to the Japanese while still
properly localizing the scene.
Question: outside of trails in the sky sc what was
the hardest game to work on you’ve released?
It’s a toss-up between Unchained Blades and Rune Factory 4. RF4
was a joy to work on because I’m a big fan of the series, but it also contains
so many complex algorithms that even the Japanese version of the game
occasionally had random bugs that just couldn’t be reproduced. Those were
everywhere during QA, and then we also had had all that text that needed to be
checked for context…
Unchained Blades is far shorter with less text, but it was
plagued with bugs during QA to the point where I once ran to the bathroom to
cry from losing my save data for the umpteenth time. We had no debug mode for
that one, either, so anything I had to test, it had to be done by playing
through like a normal player. Hopefully the effort was worth it. I don’t think
I’ve ever heard of players experiencing the issues on that game that I had!
Probably Fate/EXTELLA, which had a lengthy, lore-heavy script
with a long history behind it, plus a writing style that was both abstractly
poetic and strictly technical.
I would say the Story of Seasons series, mostly because of the
sheer volume of text and variables to test.
Question: which sort of cultural references do you
try to keep rather than rewriting for localization?
Generally, all of them. It’s always better to keep a reference,
and just maybe insert a brief explanation, than to get rid of it. People who
play our games know that they’re playing Japanese games, so I figure, why try
to disguise the Japaneseness of them? Better to celebrate it.
Depends on the medium and context. Fate, in general, is known in
part for drawing lore from all over the world, so we did our best to keep its
references to world history and literature intact. Akiba’s Trip was chock full
of Japanese-language anime references, some of which had only unofficial
translations, so we did our best to cobble together appropriate translations
from Japanese and English fan sites. SENRAN KAGURA drops references to
well-known anime now and again, well-known enough that we can keep them intact,
with an English take on their wordplay (such as when Katsuragi’s play on
“a great era of sexual harassment,” referring to the “great era
of piracy” from One Piece, became “a great invasion of
privacy.”) Occasionally, we’ll run across Japanese proverbs that don’t
have direct translations, so we’ll do our best to find English proverbs or
wordplay that match the general sentiment of the original.
Question: What was the situation in a game that
gave you trouble? Joke? A conversation? Interactions? Items? Names? Tell us the
Shiawase no Sachiko, in Corpse Party. To this day, I’m still not
100% satisfied with my translation there.
See, in the Japanese, there’s supposed to be a distinction
(“Shiawase no Sachiko”), which roughly translates to “Happy
Sachiko,” and 死合わせのサチコ (a
different way of writing “Shiawase no Sachiko”), which roughly
translates to “Sachiko Aligned with Death.”
The English I came up with for this is “Sachiko Ever
After” vs. “Sachiko in the Everafter.” And even that vaguely
acceptable solution took far, FAR too long to come up with.
Sometimes, Japanese linguistic references are just really tough
to work with!
The first example that comes to mind is a certain “My
Room” conversation from Fate/EXTELLA, where Nero and the Master have a
back-and-forth conversation about different kinds of bathing. The original
Japanese script had an entire conversation tree about misreadings of kanji,
which had no direct translation. This is one of those rare times where we were
tempted to, as we sometimes call it, “Go full Samurai Pizza Cats,”
after the old anime dub where the American dub team never received the original
script and had to make up a whole new one, but we stuck with it, and eventually
came up with some reasonably close wordplay in English.
Question: Do you have friends in
other localization teams/companies? What could you learn from them? Do you
reach out to them?
I’d love to hang out with some of the localization people I’ve
interacted with via Twitter, because I’m actually pretty ignorant of what goes
on in other companies. I’m pretty much XSEED only, but I’d love to learn the
process in other places or just bond with others who do the same work that I
Absolutely! Other companies are “competition” to an
extent, but they’re also colleagues, and we’ve met with people from numerous
other nearby companies for lunch, karaoke, etc. many times since I’ve been
working here at XSEED. I don’t know that we really learn much from them, nor
they from us, but we always “talk shop” when we meet up, discussing
localization challenges we’ve faced, fun stuff we’ve done recently, etc. It’s
just good to sometimes talk with other people who fully understand what we do.
We’re good friends with the Aksys team down the street, a lot of
our staff have Atlus experience, and most of the original senior staff came
from Square-Enix. For Fate/EXTELLA, the Aksys guys were kind enough to share
their notes and script from Fate/EXTRA as references. One of the best bits of
advice I can give people looking for work in the industry is “Make friends
wherever you go,” and that’s as true once you’re in as it is when you’re
You had finally returned to your flat after a few more fast paced cases with Bass. Most of them in Russia and Europe. You felt like you hadn’t taken a breath since you started. You and Bass had been working together for nearly a year now, and you made surprisingly great partners. You had barely unpacked your bag when you heard your doorbell ring and Bass’ voice over the intercom.
“Y/N, it’s me. Gonna let me up?” He asked.
You sauntered over to the intercom and pressed your finger to the button to reply.
“Should I?” You asked.
“Me ringing the bell is really just a formality. You and I both know I could pick this lock in 5 seconds.” He jokes.
“Yes, well you’ve always been slow. The inconvenience is tempting though.” You joked, finally pressing the buzzer to let him in.
Before he made it up the stairs you took your letters to Sherlock out of your duffel bag you were unpacking and stuffed them into a drawer on your TV stand. You were better. Nearly a year and a half had passed and you were able to say his name now without breaking down. You thought that was progress. Your life just felt empty now, even though you were barely alone.
When you were in London between assignments you had tea with Mrs. Hudson at least once a week. She hadn’t let 221B out, and you couldn’t bear to possibly enter it. You’d met John once for lunch since, and he was clearly still not okay. Compared to him you were doing well. Of course he had no idea what you were doing now, though he did know you had quit your job at Scotland Yard. You tried to keep an eye on him, but you were so busy. You had found out that he was seeing someone now and it was pretty serious. You were happy for him. As for you, not much had changed. You worked. It was the one thing you could do to keep your mind off of him.
Bass walked through the door, and after a snide remark about the state of your flat, he made his way over to the couch.
“You know what we need to do tonight?” He asked, putting his feet up.
“Remove your feet from my coffee table?” You asked, and he huffed and moved them back onto the ground.
“We need to go out tonight. Maybe a pub or something?” He said and you rolled your eyes.
“You’ve got nothing better to do than take a recovering alcoholic to a pub?” You asked.
“Well you don’t have to drink, but I need to.” He whined.
“Fine, but we should go now, I’ve got things to do and I’m not staying out all night with you.” You argued.
“I know just the place.” He stood, grabbed his coat, and lead you outside. You both hopped in a cab and headed to the pub. You were okay being around alcohol, and you would probably be okay drinking it. It just brings you back to a bad time in your life, one that you don’t want to remember or repeat.
“No, no, no a blonde drug smuggler who was exposed by an abbot with unusual powers of observation and deduction.” You heard as you entered through the door of the pub, Bass behind you.
“A blonde woman hiding amongst bald monks, that wouldn’t exactly take Sherlock Holmes.” You heard another voice return and quickly whipped around.
“Y/N?” Anderson asked, and your eyes grew wide in surprise.
“Anderson? Greg?” You asked, surprised to see them both here.
“God, how’ve you been?” Greg asked, hugging you.
“Busy.” You smiled, Charles now standing next to you.
“Who’s this?” Anderson asked politely. He had really let himself go: overgrown hair, beard, frumpy sweater. He must have gone downhill after he was fired from the Yard.
“Charles Bass. Friend of Y/N.” He smiled, shaking their hands.
“Colleague.” You corrected him.
“It’s been nearly a year, I think we can be considered friends now.” He joked, and you smiled to him.
“Charles this is my old boss Greg Lestrade, and an old colleague Phillip Anderson.” You formally introduced them.
“So you’re doing well. New job and all. What exactly do you do?” Greg asked.
“We kill people for money.” Charles said casually, and you laughed, panicking inside.
“He’s joking, of course. We work at the Natural History Museum. I run tours and we work on restorations and curations.” You smiled and lied.
“That sounds interesting, I didn’t know you were interested in that kinda stuff.” Greg smiled politely.
“Lifelong passion of mine.” You smiled, looking down to the table and the map Anderson had been showing Lestrade.
“What’s this?” You asked more seriously now. You heard the conversation as you were entering, you knew exactly what this was about. They both stared at you, almost afraid to talk.
“Phillip, he’s dead. Trust me, I wish he wasn’t. Don’t you think of all people I’d know if he wasn’t.” You said, looking to Anderson who seemed unconvinced.
“Well then how do you explain this?” He flipped the map. “Signing number 2, The Incident in New Delhi.”
“You haven’t been titling these, have you?” You asked, slightly concerned for Anderson’s mental health.
He then continued to explain how their police inspector had solved a case by measuring the depth of which a chocolate flake had fallen through an ice cream cone. Which in all honesty sounded ridiculous and made up.
“Clever man, Inspector Rajesh.” Greg said, and Anderson scoffed.
“What police inspector could have made that deduction.” He argued, and you and Charles had pulled up a chair.
“Well thank you.” Greg said sarcastically.
“You know how Sherlock never took the credit when he solved all of your cases.” Anderson began.
“He didn’t solve all of my cases,” Greg said defensively.
“He’s out there, he’s hiding, but he can’t stop himself from getting involved. It’s so obviously him, if you know how to spot the signs.” Anderson rambled, and you shook your head in disbelief. If Sherlock was out there, solving inconsequential cases out in the world, he would have told you, but none of that mattered. You don’t jump off a building and live.
“Klein Brothers, the Tower House thing.” Lestrade began listing cases he had solved on his own, or with moderately little help from you.
“The Kensington Ripper.” You helped, adding another.
“You got Tower House wrong.” Anderson stated and Lestrade argued while he flipped the map again.
“Sighting 3 The Mysterious Juror.” Anderson said, and Greg banged his head on the table.
“I’m gonna need a drink.” Charles said, standing to head to the bar.
“Make that two.” You rolled your eyes. What had happened to Anderson? He used to hate Sherlock, now he’s obsessed with him.
You tuned out of this story but according to Anderson, Sherlock swayed some murder trial in Copenhagen. Because obviously in his free time, when he’s not being dead, he’s on jury duty.
“It had to be him! There’s no one else it can be, don’t you see?” Anderson asked as Charles handed you a beer.
“Phillip, I see that you lost a good job fantasizing about a dead man and him coming back to life, and I know why you want that to happen. I want it to happen, but it’s just not gonna.” You said honestly, but something told you he wasn’t going to stop.
Anderson and Greg eventually left and you and Charles now sat at the table by yourselves.
“Has he always been like that?” Charles asked.
“Oh God no. He was an ass and he hated Sherlock. He helped take Sherlock down, planting the doubt in everyone’s mind that he was some sort of killer. Now he’s obsessed. He came and visited me in the hospital and I could tell he felt guilty, but I didn’t know it was this bad.” You answered, you noticed Charles was looking down at his watch.
“Sorry, am I boring you answering your question?” You asked rudely.
“No, I’m seeing if we have time to grab dinner. Hungry?” He asked. You smiled and rolled your eyes. You seemed to be doing that a lot lately when you were around Bass.
“I suppose, but nowhere too nice I’m not dressed for it.” You told him, and he smirked, clearly knowing a place.
The two of you walked down the street, apparently the restaurant was close by or at least walking distance. The two of you chatted before you were interrupted by someone calling your name.
“Sergeant Gregson?” You heard behind you and turned to see Kitty Riley, the reporter from the SUN. You stopped and she ran up to you.
“Sergeant Gregson, I’ve been trying to find you for a while now.” She began and you cut her off.
“Then you’re not a very good investigative journalist. And I don’t work for Scotland Yard anymore so you don’t have to call me Sergeant.” You told her.
“I wanted to apologize. After everything with Sherlock Holmes I tried to find you, but you sort of went off the grid. You quit your job, weren’t in your flat, or the country it seemed-” She said and you cut her off again.
“Is there a point here Kitty?” You sped her along.
“If there’s anything I can ever do for you, I’ll do it.” She said, clearly repentant.
“Clear his name.” You said.
“What?” She asked, shocked.
“Recant your story. Clear his name. Paint Moriarty as the manipulative villain who even got to you and forced Sherlock to his death after smearing his name. He was an innocent detective who saved lives and solved crimes that even the police force couldn’t. I think we owe him at least that.” You said, and Kitty nodded somberly.
You began to walk away and you felt Charles grab your hand. What you didn’t know was that Kitty took a photograph. You also didn’t know that it was going to be published in the SUN tomorrow with the headline ‘Hello Detective: Gregson Returns and Who’s Her New Arm Candy?”.
“Can you believe this? That bitch!” You yelled, throwing the paper down on the coffee table, Charles trying to calm you. He had slept on your couch last night after having a little too much to drink.
“Well think of it this way. Normally women are objectified in these kind of papers, and I’m the arm candy and you’re the smart, powerful lead. I’d take that as a win for the feminist movement.” He said, and you didn’t know whether to slap him or not.
“Like I give a damn about that! I’m an international assassin, I can’t have my face plastered on Page 6 everytime I leave my flat!” You ranted.
She needed to be taken care of. No, you weren’t going to kill her. There were worse things you could do. You had to see Mycroft, he would have this taken care of. You didn’t care if he paid her off or got her fired, but Kitty Riley needed to learn her place. As an undercover government asset, this threatened the safety of not only yourself but of the nation.
You threw on a dress and stepped outside your flat to call a cab to take you to the Diogenes Club when you saw a black car pull up. You rolled your eyes, did he always have to be two steps ahead of you?
“Hello Giles, it’s been an age.” You said, sliding into the car.
A/N: “So now we’ve come to the eeeennd of the roooaad.”
Kylo rushed you to the hospital. The car wasn’t even at a complete stop when Hux carried you out the car and to the emergency room. He was panicking and yelling for help.
Doctors and nurses ran up to him, “What happened?”
“Sh-She was shot. She’s lost a lot of blood already. Please!”
Two nurses came up with a gurney and Hux gently set you down. He was going to follow but a doctor stopped him, “I’m sorry, sir. You’ll have to wait out here.”
“W-Will she be alright?”
“We’ll do the best we can.” With that the doctor left him. He sat down in the waiting area looking down at his hands. They were covered in your blood.
“Come on,” He heard Kylo say as he gripped Hux’s elbow and led him to the bathroom.
Hux mindlessly began washing his hands watching your blood swirl down the drain. His adrenaline was finally settling and his emotions were running high. Out of nowhere, he began to sob.
He turned off the water and gripped the edge of the counter. He didn’t care if Kylo watched him cry. He couldn’t hold it in. You were targeted because of him.
“I shouldn’t have let it come to this. I was so foolish to think she wouldn’t get involved. Foolish to think I could’ve had something normal for once.” Kylo silently handed him some paper towels, “I should have listened to you, Ren.”
Summary: HYDRA have turned you into a monster and locked you away untouched. Raised by HYDRA against your will since you could remember and separated from a long lost sister who by now you have long forgotten. When the Avengers have rejoined they decide to take down every HYDRA base one step at a time. What happens when that base is yours?