A Daring Escape

General Summary

A loud clang rang throughout the factory. A dim light slowly filtered into the view of Ogma the mercenary, who sat in the corner of his cell. He began to cough, the smell of blood and rusted metal overwhelming. As he forced his eyes open, he awoke to his captor putting a young girl in the machine that bound everyone else in the cell. The apparatus attached to the hip, and a chain attached from it. The chain acted as a leech; slowly their blood dripped from a tube inside the chain, feeding into a tank far from sight. Their blood kept them alive, in more ways than one. They lived as sheep for the vampires to feast on.

Everyone sat situated on the floor around the enclosure, biding their time for several hours. The prisoners sat scattered around the cell: Ogma sat toward the front, near the corner, just as he had done for the last 3 days. After him, they brought in a man clad in a jumpsuit, Gregory Navarro , along with his companion, Ricky. Then, the old man, Spicket Andes , and lastly, the child, Kory . Ogma didn’t care to escape all that much; any attempt alone meant destruction, quickly overrun by the cannibals. He had no semblance of a suitable plan, but now he had a chance. Now it seemed possible. The young child Kory sat and gnawed at her chain, slowly consuming link after link. Seeing this as her attempt to begin an escape, Ogma tried to break his chain as well. He got caught, however, and the guard began to violently question Ogma’s intentions. The man, who went by Scags, had nails lay strewn through his body. Some embedded in his fingers, giving him almost a claw-like feature. Scags entered the cell, shotgun pointed at Ogma. Gregory attempted to persuade him to ease off, urging that it was not a means to escape, rather, an adjustment of comfort. Gregory pulled out a silenced pistol and attempted to shoot Scags, however, Scags quickly retaliated with his shogun, blowing out Gregory’s kneecap. He let out a bloodcurdling scream as Scags grabbed the pistol from him. He also noticed Kory, her chain now very visibly broken. He walked over to her, and her face suddenly changed to his. While he seemed taken aback at first, it was all for naught; he hung her by the chain on a hook, effectively leaving her in a quite useless position. He stated his intention to return, and left. In just a few moments, their state had somehow worsened.

Everyone kept to their positions inside the cell, knowing the cannibal Scags would soon return. Ogma and Spicket, both attempted to move free of their chain. Ogma’s chain got caught on something and restricted his movement to a paltry 5-foot radius. Spicket’s as well, but his chain allowed no more movement outside their current position. A few minutes passed and Scags returned. This time with a woman, he called her Mama Screw-toes, also clad in a similar style of nail piercings. She used a blowtorch to fix Kory’s chain, and after much pleading by Gregory, also bandaged his leg. After the cannibals left, the young child vanished into thin air. Gregory began to devise a plan to escape and asked Ogma to once again try to break free from his chains. Ogma did so, successfully this time, but in his effort broke the mechanism around his waist. He felt a tight squeeze, constricting his waist like a cobra ready to kill. Once he freed himself, Gregory created a distraction, and both Spicket and Ogma began roaring loudly to attract a nearby guard. Scags once again approached the cell, shotgun in hand once more. He had it aimed at Gregory, but before anything else could happen, Kory suddenly appeared over Scags, dropping right on top of him. Ogma swiftly grabbed the keys from the now incapacitated Scags, along with his sawed-off shotgun and Gregory’s confiscated pistol. He freed everyone from their restrictions, his however still tightened and locked around him. The next challenge lied in retrieving confiscated equipment. The supply closet that held everything stood directly in view from the area that Scags had just emerged from. With Gregory’s knee leaving him immobile, he sat ready next to the cell with his pistol, recovered from the fallen cannibal. Ogma and Kory, mimicking Scags’ face and appearance, slowly made their way to the closet. However, another captor spotted and began to question them. Even with Kory’s power, it did not seem to fool the other cannibal. As the man slowly made their way towards them, gun in hand, Gregory took aim; Ogma quickly dropped Kory and pulled out his shotgun, at which point both Gregory and Ogma annihilated the cannibal. Thus began the fight to escape.

Three more cannibals, all covered similar nail piercings, emerged from the small room. Ogma quickly ran into the closet desperately looking for his weapons. The first cannibal charged toward them, Greg used his pistol to quickly take them down. Another ran toward Kory; they swung a bat with nails at her. As the nails dug into her, Kory retaliated by kicking them straight up in-between the legs. Needless to say, the cannibal collapsed to the floor from the intense pain. The woman from before rushed toward Spicket, machete in hand. Grabbing the rest of his things, Ogma tossed his SMG over to Spicket, who used it to fire on the cannibal. The ensuing exchange made Spicket lose his balance; and the woman retreated behind some debris to take cover. Ogma, now with his fully equipped arsenal, immediately mowed down the rest of the cannibals, using his father’s old magnum to take out the pitiful cannibal near Kory as well as the woman who sat behind cover.

After the fight, the group had sustained serious injuries. Ogma used his medical kit and healed everyone in critical condition. They all proceeded out of the factory, greeted to an area clouded in thick constricting pink smog. The air inside almost felt better than the air outside. It felt invasive, warm to the touch, and incredibly uncomforting. In front of the entrance, they encountered an old garage, in a similar decrepit state as the factory itself, housing a buggy-like vehicle inside. They agreed upon using the car to escape, at which they all flooded into it; Gregory at the wheel, Ogma sitting passenger side with his shotgun, Kory on his lap, Ricky, and Spicket in the back, with Gregory’s large backpack on their lap. Gregory started the car and drove out of the garage. With no road to go off, they headed deep into the enveloping pink smog.

Character(s) interacted with

Report Date
15 Feb 2019
Primary Location
Secondary Location

Comments

Please Login in order to comment!
Mar 2, 2019 23:38

Working well: Some descriptions of people/actions work very well thanks to your good choice of words. I particularly liked the description of air towards the end of the story. I liked the simile describing the chain around the prisoner's waists as cobras. Ogma's reactions to things leaves a lot of insight to his character, you can do this with the other characters to flesh them out a bit more as well. They may not be your characters, but this is your story so they can be whatever you want.   Needs work: The title is a little generic or cliché. Go for something that grabs the reader's attention. When you list off the characters getting brought into the cell, it feels unnatural like a role call. It would be more interesting if we learned about these characters from Ogma's perspective, it would also get us more invested. A lot of this story also feels like bullet points of events happening – leave more room for developing atmosphere and showing us what the characters are feeling. Seeing more direct interaction between characters would go a long way. Some of the step-by-step or overly specific descriptions aren't necessary. The formatting of the page ruined your paragraph breaks, so I couldn't tell when you started new ones. "Ogma used his medical kit to heal everyone in critical condition" sounds way too gamey. Describe it more like a story. Also, at the very end, there's no need to describe precisely where every character is sitting in the car.

Mar 3, 2019 18:52 by Abigail

I think you do a good job with using all five senses, and you have a couple of good evocative lines. "Their blood kept them alive, in more ways than one. They lived as sheep for the vampires to feast on." is really good, and paints an image of the situation the prisoners have found themselves in. Some other lines that caught my attention in terms of the senses:
He began to cough, the smell of blood and rusted metal overwhelming.
He felt a tight squeeze, constricting his waist like a cobra ready to kill.
There are a couple of things I see that could use some work. Firstly, this is a massive wall of text that needs to get broken up into paragraphs. I suspect this is a result of copying your work over to world anvil, since the previous draft I saw didn't have this problem, but it's pretty easy to fix either way.
Secondly, you do a lot of telling instead of showing. Things like "He stated his intention to return, and left. In just a few moments, their state had somehow worsened." could be better written as "Turning away from Kory, he growled out 'I'll be back, none of you maggots move or there'll be hell to pay, understand?' In the span of a few seconds, our situation had plummeted from bad to worse."

Mar 5, 2019 01:38

It seems like you have a grasp of everything that happened during the game and it shows in your work. I had a good sense of the order of events. The comparison at the beginning of the torture device to a “leech” was also a nice hook that got me interested into learning more about the situation.   The lack of paragraph indentation made the piece feel much longer than it really was, but that can easily be fixed by breaking it up into smaller pieces. The description of events was detailed in terms of the action happening, but I feel as though it was void of any emotion. Maybe it was the point of view of the piece, but the story seemed more like a log of events that you would list off and forget about soon after. I think adding meaningful dialogue between characters (even if it didn’t really happen) and maybe experimenting with the point of view could help bring more flavor to the text. It also might have been easier to digest this story if it had been broken up into just one or two parts of what you wrote. It seems like you gave us the entire story, and while that can be a good thing if it’s interesting enough, I feel there was a lot of monotony happening here with every scene happening back-to-back with no real connection to the characters or the severity of the situation after the first couple of sentences.

Mar 5, 2019 14:44

The opening was good and worked to setup the rest of the story. Analogies and diciton such as likening things to "leeches" and "vampires" really worked to bring the story to life. The ending also works well. It feels like a great stopping point as it completes the story while leaving room for the reader to wonder what will happen next. Off the top, the title didn't catch me. To borrow Prof Trent's analogies, I wouldn't stopped to read this if I were shifting through a pile of scripts. The narrative is very to-the-point. The story reads more as a "this happened then this happened" with little building in the line of suspense or character. Because of this it makes the entry feel like someone recounting what happened in their game instead of a clear story.

Mar 5, 2019 19:47

Working well: The beginning and end of this are the strongest parts. The focus on description and setting up the setting and plot work really well with how you did them. I think the description of characters as well really helps to give more importance to them, and to allow some insight into what happened in the session. I think that you really get everything that happened across as well, it gives all the information as it happens in a very detailed manner.   Work on: This is real hard to get through. Some paragraphs are long, but having just one is real difficult. Even as stream-of-consciousness, you can add breaks to at least make it easier to follow. With the number of names per sentence and all the information given, it is extremely hard to follow in this format. I think you can try to find the most important parts and start and end paragraphs with them. I think also you can add more descriptors into the middle of the piece, like you had with the beginning and end. Just because there is combat does not mean it happens without any little details, whether they were mentioned in the session or not. Focus on small things to liven up combat, or it reads very much like a list of events all happening in succession.

Mar 5, 2019 21:53 by Michael Berger

The Bad Stuff: This vignette is a linear set of events told competently. In this case, it means this is a story told with no frame of reference, no character of focus, and no articulate language. To be blunt, there are very few details that set the scene or give insight into a character. Is Ogma scared? Is Ogma stoic while everyone around him panics? Is Ogma calculating the odds of every move he makes? I can't tell these things from the given descriptions. The same goes for every other character in the story; They come off as functional actors that describe the logistics of the scene before they describe actual people making rational (or irrational) decisions. It's fine for a couple characters in a story or vignette to be this way, but this lack of inspection and depth make the piece methodical and a bit of a chore to get through. Very few people are enthused about reading a literal report of events that occurred, and this vignette very much feels like that.   The Good Stuff: This vignette is a linear set of events told competently. It is so easy to follow the actions of the story and have a mental map of which character is where and what they're doing in the moment. What's more, the language of what's being described easily flows in and out of each sentence. It's an easy read that doesn't get bogged down by weird word placement or an unorthodox sentence structure.

Mar 7, 2019 18:13

Pros: A pro of this is that there is a very clear order of events. There was no uncertainty as to what was happening at every moment of the vignette. There were also some interesting events that could be capitalized on and turned into a captivating story.   Cons: Please add paragraphs in your future vignettes. It was a huge slog to read through the entire story when there weren’t any breaks to stop and process what I was reading. This piece is essentially just a summary of the session – I got no personality, no character development, and no identifying information about the protagonist. It is really important that you attempt to disguise this session as something more than just a four person RPG group. Right now, it is very clear that this was based off of a game being played. I also would like to know anything about the character throughout the passage. I’m not given any information about who Ogma is or why I should care about him. There was almost zero introspection or information provided regarding this specific character – its honestly difficult to tell that they’re the protagonist. There is also a significant amount of awkward diction used throughout the vignette. When reading through the passage, I consistently stumbled through weird phrasing such as ‘filtered into the view’, ‘everyone sat situated’, ‘didn’t care to escape all that much’, ‘had it aimed at’, ‘that held everything stood directly’, etc. etc. Additionally, there were a lot of tensing issues throughout the story. Whichever tense you prefer, please stick to it so it doesn’t keep switching from past to present back and forth. Finally, the title is very cliché and unenticing. There was no draw or motivation to continue reading after 'A Daring Escape' since I wasn’t interested in learning more about the vignette. In the future, try to connect the title back to something specific being referenced in the story or an overall theme that could draw the reader in.

Mar 8, 2019 04:01

The opening is pretty strong. I feel that whenever someone starts off their piece with an observation or a sensory image, the story seems more impactful. I love the imagery here. I can almost see and get a sense how everything feels just from reading it, like how the air is filled with a rusty tinge. I also like how the characters get an introduction without it feeling too much like an RPG. We get that they’re important by the way they’re repeatedly mentioned throughout the piece. I noticed that you have no dialog between the characters, and that makes for an interesting story. I kind of appreciate that there is barely any verbal communication between the characters, but I would like to see more interaction with the players. In addition, I’d like to see more imagery towards the end of the piece. It seems to transition from a poetic standpoint to more matter-of-fact and less observational speech.   The formatting of this piece needs to be corrected. It would be much easier to read if the areas were split up by evens or the characters interacting. I assume you had a format but it didn’t translate into WorldAnvil. I love the imagery, but the one line “He began to cough, the smell of blood and rusted metal overwhelming” is kind of repetitive. Blood and rust have the same sort of smell to them, so saying that it smells like both is personally sounding kind of overkill to me.