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WHO: GIORNO and u
WHERE: [waves hand]
WHEN: memshare event
WHAT: i have two prompts OTA and a few that are closed to some people who've specifically requested for certain things. if there's something else you'd like that isn't listed, pm me!
WARNINGS: see each prompt; warnings are underneath headers. giorno is a yellow, so the memory share will be physical! if you're going with the OTA prompt, you can pm me with how the contact will happen, otherwise we can put it down with some subtle gesture (acquaintances) or something a little bit more general (friends) or accidental (we can work it out or i'll roll with something).

A. DI MOLTO (OTA)
warnings for: generalized violence, choking, blood, body horror

[ whoever touches this memory will feel parts of their body be removed. the removal is swift and will seem like something has been shot from a distance, and upon contact to the skin, removes flesh and bone until a box-shaped hole is missing from the body. first, the throat, causing them to have problems breathing as the airway is removed. blood runs down the mouth as they struggle to breathe, though they're still alive. should they struggle - as giorno has done in the memory - chunks of the foot will be removed, an incison above the toes to prevent them from escaping. finally an attempt to remove the eyes, starting with the left eye. the near-certainty of the feeling that one will die, either from choking or something else.

in the memory giorno confronts an inhuman-looking gremlin which is melone's stand, though the character involved with the memory won't really know that. what they will feel after the momentary struggle to escape and minutes before passing out is also - the reversal of these effects. giorno standing and walking and talking, having figured out how to use gold experience in order to patch up the missing pieces of his body. something 'fits' into the hole on his throat and it expands into a pocket of skin that hisses and contracts as it slowly fills in the spaces where the box-shape was carved over the throat. a foot reconstituting itself, attaching bone and muscle inch by inch. an eye replaced. it feels like parts of the body crawling back into itself and melding into something more cohesive; one minute it isn't yours, and the next, entirely immobile like it had been your body all along. ]

B. BUCELLATI'S COMING (OTA)
warnings for: nausea, decapitation, dismemberment, depersonalisation

[ "my name is bruno bucellati. answer me! this interrogation has now become a torture session."

a train ride. supposedly to school, but that's interrupted for a little torture session with a man in a white suit and a bob cut. there is the physical feeling of being hit, and then all of a sudden, the feeling of bile rising to the throat only to realize that a dead man's fingers have come right out of the mouth, blood dripping from where they have been ripped from the joints.

"those are luca's fingers," bruno was saying. "in reality, they finished leaky-eyed luca off. the boss didn't see much point in keeping him alive .... if you don't start talking, the torture will escalate!"

giorno's neck starts to tilt on an unnatural degree - an almost perpendicular angle to the shoulder, and upon close inspection it feels like it's being held together by zippers around his neck. it will feel like the head has been detached and is hanging by a loose thread of muscle, unreal, the body unable to detect that it's in complete danger but recognizing the pain. ]

C. KIDS THESE DAYS (ZELDA)
warnings for: child abuse (physical violence, neglect)

[ this memory is of a child's: the body is significantly smaller and the surroundings much bigger, the light a lot more harsh than it has any right to be. there is a lot of yelling and screaming that thunders in the room, and it becomes clear from the feeble voice of the child that this man is meant to be a father figure. whatever it is that they are talking about it reduces the child to a small ball, shoulders hunched up in an attempt to protect himself, until the voices reach a fury that came out of nowhere. then follows physical blows: from a hand, from a belt, the backside of a shoe, again and again until one tastes the floor. iron in the mouth. the blows weren't brief and it seemed like they would go on forever, or for as long as the father could sustain it.

in the evening, a woman comes that is supposed to be the mother. she tucks him in and leaves. if she had seen the bruises, she makes no comments upon it. the child begs for the lights to be kept on, but the woman laughs. "don't be silly, haruno. how will you sleep?"

i'm scared -

"you're big now, you should know better than to be scared!"

the lights are turned off. the kid is left to deal with bruises beneath a thin blanket; from the muffled sounds in the pillows it sounds like he is whimpering and crying, until the voice stops and there is silence again. ]

D. WHITE ALBUM (JION)
warnings for: yaoi

[ "ow, fuck, that hurts! hey, be more gentle! not so rough, please, ow!"

"i told you, that isn't possible. you're part of the mob, aren't you? please don't make a scene .... i'll need to remove your clothes so i can tend to your injuries properly."

two other memories with this boy:

holding him close as he fires a gun, and one that is from an earlier time, where he's cutting bits of salami on a rock to feed some gremlins while giorno patiently waits for him to finish with an exasperated face, while he goes, "listen, if i don't feed them, they're going to start complaining."

it's a warm and pleasant feeling. amidst all of his other memories the kind with friends is few and far between and this one, upon being revealed, will confuse giorno in having shared it in the first place, stopping on his tracks as he realizes what had happened and falling silent as he remembers.

where there is physical contact it is brief but firm, and warm. ]

E. SLEEPING SLAVES (JOTARO)
warnings for: a bad boy

[ the memory is brief. it is giorno with his hair slightly dishevelled from a fight as he picks up a rather familiar item: an arrowhead with a beetle over the front. giorno, with conviction, says, "that which we have inherited from the departed must be taken onwards! i will not destroy this arrow."

a man that is familiar to him is there: jean-pierre polnareff watches him and it's hard to determine the look on his face with giorno's words, but he doesn't look like he disagrees with him; more like he understands. he looks like he's been through a lot, despite that cool mask. the latter half of his body seems to be in a turtle; what's up with that?

"put the arrow in the turtle," polnareff murmurs. "and that will do, giorno. that is the duty of the survivors."

there's not much to feel here physically unlike in other memories, save for the certainty in that the arrow that giorno is holding is real and not a replica. it feels old and heavy in giorno's hands. ]

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[ well, that makes the two of them trying to come to terms with something they probably shouldn't have seen.

in all likelihood he had asked to meet jotaro because he wanted to learn about his father, he wanted to understand what jotaro meant by family. they can't just ignore each other in this town; their connection to each other meant that at any given point in time giorno knew where jotaro was, and whether he was near or far away from him. it's a persistent, nagging thought that made it difficult for him to be as calm about the situation as he'd liked.

here, the slightest brush of his arm to jotaro as they decided to walk towards another place to talk in private made them exchange something worse, and giorno has to steady himself on the side as he is flooded with emotions. polnareff - so much younger than he remembers. and his father - that has to be him, with the golden hair, those knives, a hand swinging the street sign like an axe, polnareff stabbing him -

- it's too much. giorno feels he's going to be sick. cold sweat covers his skin, feeling goosebumps as he recalls his father's face, and he clenches his fist. ]

I - I don't understand, [ he says faintly. ] Why would he - ?

[Jotaro feels unbalanced, trying to wrap his head around what he just saw and what he remembered in turn. The arrow reminds him of... something, he isn't quite sure what yet, and he can't focus on that to make the connection. Polnareff had looked tired, more than anything, and so much older than he was when Jotaro last saw him maybe a month ago. Why was he in a--

Giorno is talking, though, and it can't be that he doesn't understand what Jotaro just saw, since he's the one who lived it. He looks over, sees Giorno sweating out of nowhere, and thinks I can't influence the witness's statement.]

What did you see?

[His jaw is clenched, his face otherwise deliberately blank.]

I-I saw ...

[ he falls quiet as he thinks about what he remembers of that memory. it feels like being haunted by a ghost, the memory of a memory that sutures itself into the edges of his shadow and onto flesh and bone. he's not sure what he saw; more than that, 'what did you see?' doesn't imply any confirmation. it's just a question, plain and simple. yet it carries so much weight in it. what did he see? and polnareff, so much younger than he used to be, than what he's used to seeing, stabbing his father in the head. did the two of them kill him?

.... but there's notes of pride here and there. it took more than just jotaro and polnareff to finish off his father, based on what he just saw. his father was powerful. immense even in his terrifying power. even jotaro, for a moment, had to be laid low.

giorno inhales sharply. ]

I saw you - did you die? Were you brought back to life? [ he doesn't ask this with a trace of doubt in his voice, because it happened to him. it could. and if jotaro says he's family then maybe he can do it too. ] And .... Polnareff.

That golden-haired man .... that was my father, wasn't it. [ and now his voice is quiet, uncertain. ]

[Okay, so he saw everything. Jotaro honestly feels bad about it--it was a rough part of a rough night, and his general sense of familial duty tells him it's wrong to destroy someone's image of their father so thoroughly and swiftly. He doesn't know if he can cushion the blow further at this point, or if he even wants to, but answering Giorno's questions means not thinking about a possibly immutable future for a little longer, so he'll do what he can.]

We didn't die, but I had to stop my heart after that to convince Dio I had. I couldn't think of any other way to get him in reach of my Stand. [He hesitates for a moment, unwilling to reveal further emotional vulnerability, but he remembers what Giorno said about burying friends and hopes it will help Giorno not resent him.] Everyone else had already been killed at that point. I couldn't let him get Polnareff, too.

[Glossing over a couple key parts there in the middle, but what are you gonna do?]

[ ... but why polnareff? and then something deep inside giorno reminds him that polnareff and silver chariot had been protecting the arrow. his father probably had access to one too. was his father's stand brought out by the arrow? he can't be certain and his knowledge about stands are incomplete.

giorno tries to force himself to be calm, the photograph of dio burning a hole in his pocket. why. so many questions he'd like to ask a dead man. ]

.... but why did he want you dead?

He seemed to have it in his head that my family were the only ones who could stop him. [He doesn't actually say "good grief", but the vibe is there in the way he briefly, slowly closes his eyes.] I don't know if he was right or if it was just a coincidence that I was strong enough to beat him. Doesn't change the fact that I did.

[It still doesn't feel real sometimes, what he did that night. He hasn't stopped time since Cairo, hasn't had much cause to push himself at all, and that makes it all feel more like an extended fever dream than the truth of the world, but he knows nothing else makes sense.]

[ “stop him.” And only their family could, or someone from their family. Suddenly they’re not in the same side anymore. Giorno thinks about a number of implications in the way that he had said that he was strong enough to beat him - this time around? Only he? And before that, what .... unchecked power? He wants to demand answers from a photograph that can’t defend himself, if it would choose to. His mother gave it to him: his father in the shadows, brooking no discontent and projecting no memory. Refusing any sort of polite inquiry, even now. Does he love him? Can he, still? Giorno can’t really say. And if he ended up hating him, it wouldn’t be the first time someone of his own blood disappointed him in the end with some form of cruelty. He should know better, but he hoped something would be different. He was so proud of his golden hair.

He doesn’t doubt Jotaro when he’d told him that he got his revenge. But - ]

.... what aren’t you telling me?

[ why all this precaution against his father? Why the necessity to vanquish him like he was some sort of demon? Where did his blood come from?

Jotaro said he was a cousin. He held no such illusion with his father. But he’d be an uncle to Jotaro, wouldn’t he? Of some kind. ]

Edited 2018-09-27 21:22 (UTC)

[God, this part. Jotaro's been holding it back because he remembers how hard it was to believe, even with what little he'd known at the time about the old man's wild adventures, and he doesn't know what Giorno's been through that might allow him to believe such utter bullshit. Giorno deserves to know what he's dealing with, though, whether he believes Jotaro or not.]

Dio was a vampire. When he died, he was over a hundred years old.

Hold on.

[ alright let's break this down. ]

I'm not a vampire. Not even close. How is he able to have children?

[ checkmate jotaro ]

You think I know? I'm still trying to wrap my head around the fact that he was shoving my ancestor's dick into strange women.

[Is it too late to somehow have died while defeating Dio? Because Jotaro would rather be dead right now. But, on that note:]

Oh yeah, biologically I guess you're my grandpa's uncle. That's why you have the birthmark, Dio was adopted.

[YOU'RE LEAVING OUT IMPORTANT INFORMATION, JOTARO.]

No, no, that's the wrong way to do it.

[ a hefty sigh. he understood none of that. none at all. or maybe he didn't want to understand that in the first place. jotaro is dropping so many things in one go like he's absolutely ready to be rid of this and it leaves giorno no room to examine the facts and discard and obsess over them as he pleases.

he points at him in a very jojo manner. ]

- start with a history. End with how you killed him. That's how a biography should go. You owe me that one.

Edited 2018-10-03 02:20 (UTC)

[Listen, storytelling is his grandpa's job...

Jotaro gathers his thoughts anyway, every little scrap of information he remembers the old man relating over the course of their journey regarding Dio's place in the Joestar family.]

Dio was adopted into the Joestar family around 1880, when he and my ancestor, Jonathan, were just kids. Apparently they got in a few fights early on, but once things settled down they grew up together as brothers. Then, in 1888, their father got sick and stayed that way. Jonathan discovered that Dio was poisoning him, but while he was investigating that, Dio somehow figured out how to use this weird stone mask that Jonathan had been studying, and which had been in the family's possession a long time before that. That's how Dio became a vampire.

[He stops here, giving Giorno time to process what he's just said. This part is all third-hand, related to his grandpa by Granny Erina and Uncle Speedwagon and from his grandpa to him.]

[ as a vampire, the years shouldn't throw him off. but it's ridiculous. his father is centuries old. a stone mask had turned him into something inhuman. 'figured out to use' means that he had done it deliberately and it was no accident that lead him to finding out what immortality is like.

so he's getting a picture, even if it's not a nice one. and he can't say he likes what he's saying. ]

That's a lot to take in, but I suppose it can't be helped. [ it's no weirder or worse than what his life has been for the past couple of weeks. ] Please go on.

Believe me, it gets worse. See, in the process of becoming a vampire Dio killed their father outright. Jonathan fought him and burned the whole house down around him, but through force of will or sheer dumb luck Dio survived and escaped. They fought a second time, Jonathan won again, and they thought Dio was dead for real, but somehow he managed to survive again.

[Jotaro pauses again here, trying to remember if there had been any facts about Dio's attack on the ship or if it was all just his grandpa's educated guesses. It's hard to be sure, so he just moves on to the next thing he knows for sure.]

Dio finally defeated Jonathan when Jonathan was on his honeymoon. They wound up trapped at the bottom of the sea, and at some point he attached his own head to Jonathan's body. He resurfaced in 1983, traveled the world gathering associates, and gained a Stand. And fathered you, apparently.

[ how monstrous was that: to continuously defy death. to attach yourself to another body, to desecrate an entire bloodline. it explains ... a lot about his abilities that giorno's never questioned himself personally: the ability to give life. the ability to attach and reattach things to his body at will. and none can predict the two of them existing right now, his father's killer, and him his father's son. if he was able to resurface (by himself? with the help of someone?) in 1983 and travel and consciously gather associates to himself, and was strong enough not to be killed by a stand, then somehow he's made that body his own despite it not being himself to begin with.

giorno peers up at him. so what this guy is saying to him is that ... he's not wanted? well now. isn't that just how things have always been with blood? ]

I see. [ a pause. should he ask him how he died? ... but what good would that do for him. ] Thank you. And I'm sorry.

[ will he be happier or more upset to know that he's similar to his father in some respects? is similar safe or dangerous? ]

[It shouldn't be a surprise that Giorno can be diplomatic about this shit, especially after their first encounter, and yet somehow it is. It reminds Jotaro that he's not just giving a report and that he's not dealing with some heartless clone of the monster in his family's closet--not that he truly thought either, but it still felt that way a little until just now.]

Don't worry about it. You don't have any more control over who your parents are than I do.

[Just as Giorno hasn't asked for details of the fight, Jotaro doesn't offer them. He really doesn't think Giorno wants to hear about his father's head exploding.]

No, not at all. But I have to say, all this stuff of bloodlines is reminding me how I've never had any luck with them at all.

[ that he's not asking for a fight is a good thing. giorno makes a decision: ]

.... you don't have to take me in as your family. You have that right. Despite everything else - you're a very good person. And although it doesn't feel like that to me right now, based on what I've heard, I probably owe you a debt I can't repay.

[ a pause. this one longer than before, as giorno weighs his words carefully about dio. ] I looked up to my father. As a child .... you've no idea what he meant to me.

But you've no obligation to keep such associations with you. If that's what you want, I will oblige.

[Jotaro rejects the idea the instant it leaves Giorno's mouth, but he lets him keep talking in case there's a compelling reason. He knows it would be reasonable to go along with denying his and Giorno's relation--look at the trouble his family's already had from one poorly chosen addition--but he also knows he'd feel like scum if he excluded someone based solely on circumstance, so when Giorno finishes his little speech Jotaro steels his resolve, crosses his arms like he's too cool for this entire conversation, and counters.]

I'm not kicking you to the curb, so stop angling for it unless it's what you want. You didn't know who you were looking up to, and now that you do you've changed your tune. That's all I care about. Alright?

[ well - ]

How you make it sound so simple. [ a tilt of the head. ] Then again, perhaps some things needn't be so complicated in the end, only for the people in question to be clear on the terms of agreement.

You're free to return to my offer otherwise. I don't want any talk of obligation or legacy holding you back from anything if that point ever comes.

Thank you, however. [ how should he phrase the next few words without sounding bad? giorno purses his lips, until he adds, ] I've never had a good experience with blood relatives in my life. Hopefully this will be a good start.

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