#npc hc

[headcanons-of-sekai]

Weirdest character to headcanon for, probably, but I headcanon this twintailed Petit Sekai girl who's judging Minori's morning greetings, as hating theme parks, and trying to steer VERY clear of Phoenix Wonderland:

[enstars-headcanons]

(i hc mao's little sister to be named mai)

a lot of mai's friends are knights fans, and a good few of them have ritsu as an oshi. whenever they fan out over fanservice, she gives them this weird look (because she obviously knows him personally, and happens to find him not attractive at all #Leasbin). all her friends know her brother is mao isara, but they arent aware she's known ritsu for as long as she can remember (siblings childhood best friends will do that) so they all just assume it's a lack of attraction

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[kanski03]

001. ESTABLISHING SHOT: EXT. SOMEWHERE ON THE OUTSKIRTS OF ALTAUSSEE, AUSTRIA - MORNING - 1961. We pan slowly over forest and quarry land, where mist scatters over the trees. The sky is lightens steadily, but the sun won’t quite manage to break through the fog.

002. WIDE SHOT (WORM’S EYE VIEW): INT. ALTAUSSEE MINE SHAFT. We're looking up, watching a man abseil down into the chasm. This is PIERRE DUPONT, though we shall only learn this later. DUPONT coughs, but that’s all we hear from him thus far. Once he lands upon solid ground, he un-clips from his harness, then treks unsteadily across the shingles towards us, favouring his right leg. He remains primarily BACK-LIT from the light of the chasm, as he comes closer - we see very little of his face. As he approaches, we see he wields a torch in his left hand.

003. MEDIUM SHOT: INT. ALTAUSSEE MINES. Deeper in the mine, we remain one step ahead for now. DUPONT steps into shot from beyond a corner of the cave wall, though in the glare of his torch, his face remains shrouded by the light. 

004. REVERSE LONG SHOT: We look upon A DOOR; thick sheet metal and out-of-place here. It looks like the entrance to a bank fault, only there is not visible handle or lock. DUPONT trips into shot and we     

FORM CUT TO:

005. MEDIUM-LONG POV SHOT: EXT. IN PARIS’ SEINE RIVER, FRANCE - NIGHT - 1940. Light trickles over THE BODY that bobs in the water. It looks to lie still, dead, as the current brings it closer. Then, when at arm’s length, THE BODY turns its head from left to right, slowly, immersing its face into black waters for a moment, until its gaze reaches ours. THE BODY stares, and we see it for what it truly is: DUPONT - younger, but indefinitely him. Those eyes are unmistakable.

007. REVERSE POV SHOT: DUPONT stares back at himself in shock, wading in the water, powerless to move. His breaths stop.

CUT BACK TO:

008. (     Cont.) REVERSE LONG SHOT: INT. ALTAUSSEE MINES. DUPONT rises to his feet, unsteady. Approaching the door, he looks clueless for a way in. His hands slam upon the metal and, as his strikes echo through the cavern, the darkness seems to move.

CUT TO:  cont’d ...

[headcanons-of-sekai]

HC: Hinata and Yuuki are in a long-distance relationship, and whenever Yuuki is home from her university she meets up with Hinata

no this is totally not me spreading my yuukinatagenda nope not at all

[headcanons-of-sekai]

calling iori girlfailure is not enough for me she is like a d1 femcel. brings mio’s bass around as a “conversation starter” in case repping her own merch at all times doesn’t work. deftones playing on the wired headphones. matcha oat milk latte always on hand while stalks the same 16 year old girl at her workplace to try and forget about her high school situationship. talks about sum “im so 2000s older sister core.” that’s her. yea.

(i love iori)

[kanski03]

127:  FULL SHOT.  INT:  LOBBY OF THE PALAIS DE JUSTICE, PARIS.  EARLY AFTERNOON. one man, alone, trots down the steps. his shoes tap against the stone, taking two at a time with a loping grace. slipping the knot from his tie, he drops it purposefully behind him, where it zigzags down the stairs, ready for the next gentleman to escape the firing squad to skid upon the silk and crack his head open upon the shining marble.

128:  MED. FULL SHOT - REVERSE ANGLE (TOWARDS THE EXIT). today’s escape has been narrow for PIERRE DUPONT but, even only in his mid-to-late 30s, he has had plenty of practice; we’re in the year 1954, and these scrapes of his are infamous by now. he strides out towards the blinding flashes of press cameras with not a moment’s visible hesitation.

An art historian, Pierre Dupont attended the University of Paris with Lady Croft prior to the Second World War, before eventually working at the Louvre Museum as an assistant curator (thanks, primarily, to a hefty donation from his grandfather).

The Frenchman and Croft parted ways in the early years of the war as friendly rivals. Keen in his pursuit of fame and fortune, however, Dupont aligned himself with the Vichy Regime subsequent to Croft’s escape back to England, in an act of betrayal that was, for many years, unbeknown to her. He spent the remaining years of the war dealing art to the collectors for the Linz program, undermining Croft’s simultaneous conservationist work. Following the Liberation of France, he was investigated in the Épuration Légale trials as a possible collaborationist, but his case was closed without indictment.

When Dupont and Lady Croft reunited, their friendship picked up from where it had left off for a number of years, though it was tainted by bitterness on Dupont’s part     such being a concoction of jealousy and, to some degree, guilt. In spite of this, he is known to have accompanied Croft on a number of expeditions prior to her disappearance, perhaps most notably their record ascent of the Matterhorn’s west face in 1952.

It is noted in Croft’s diaries that, little by little, she came to uncover the true extent of her friend’s deception. En-route to Soviet Tajikistan in 1953, she notes her intention of confronting him and witnesses confirmed that the two shared a heated argument on 10 September shortly prior to her disappearance.

Dupont joined the search efforts subsequent to her disappearance, leading the first search party, but was later accused of her murder upon the discovery of evidence that pointed towards his involvement. Whilst again indicted after a year of maintaining his innocence to the press, the trial saw his reputation ruined.

[kanski03]

           CHARACTERS :    WALTER ‘ZIP’ EJIOFOR

Until 2021, Zip works as a desk jockey for MI5. Thanks to information garnered through his own tech, he managed to source information pertaining to Lara’s disappearance that MI5 was keeping under wraps — information he intends so as to solve the mystery of what happened to her, once and for all.

Born and raised in Shepherd’s Bush, West London, Zip is the youngest of three children, and the only son to parents of Pentecostal Christian faith, Ndukwe Ejiofor (Nigerian and of Igbo descent), a network engineer for TfL, and Angelica Ejiofor (née Campbell, from Jamaica), an NHS doctor, both having immigrated to the UK in the midst of the 1960s.

Zip worked hard at school and college, excelling in STEM subjects whilst still having an active imagination. His fascination with conspiracy theories, without necessarily believing in them, coupled with his love of adventure stories meant he grew up dog-earing the pages of The Croft Anthology. The whole set had pride of place in his bedroom from the age of eleven years old.

Finally, he enrolled in Bristol University in 2006, where he earned his bachelor’s degree in Computer Science and Electronics. The books went with him wherever he went, seeing him through various student accommodation flats and many sleepless nights.

After university, having previously freelanced as a web engineer, Zip found work as an IT Service Support Officer at MI5 in 2009. From there, he quickly impressed higher-ups within the IT department, soon being promoted as a Software Engineer. It was at this point in his career that he started to specialise in engineering remote surveillance and advanced recognition technology. The Croft Anthology stayed with him, but started to gather dust. It was time to grow up.

Though he enjoyed the technological side of the work with MI5, particularly the chance to develop his skills using technology he wouldn’t otherwise have had access to, he felt infantilised within the department, and his concerns never seemed to be taken seriously. This meant he found himself carefully managing his emotions, initially doing so subconsciously, suffering his frustrations in silence — hence, his private adoption of the moniker ‘Zip’. Internally, he’d chastise himself for instances of speaking out, there being no silencing his internal rebukes — “Just zip it, Zip!”

In 2013, MI5 declassified ‘The Croft Files’, a by-no-means-complete report on Lara Croft’s activities prior to, during, and just after the Second World War. In the meantime, Edward Snowden’s defection from the CIA was big news, and his case only exacerbated Zip’s growing distrust in the government he worked for and those it aligned itself with. He had, over his four year career with MI5, become disillusioned with the organisation; his work seemed to hurt more than it helped, and he no longer trusted those whom he worked with; they all seemed callous to him, and quite soulless; they loved their jobs because it made them feel powerful, rather than because they wanted to put the world to rights.

Thus, Zip started poking his nose where it wasn’t necessarily welcome.

Patenting an archive database, C.O.M.P.R.E.S.S, that, unbeknown to the many who used it, Zip remained an admin of even after it became commonplace throughout British intelligence agencies and part of government departmental procedure, he soon had access to every scrap of information uploaded. He too created an affiliated document scanner, with which departments used to digitise old physical files with ease, these too making their way onto C.O.M.P.R.E.S.S.

It would be in the midst of one of those many sleepless nights, laid staring at the bookshelf stood opposite his bed, that the idea to run a reverse-image search through C.O.M.P.R.E.S.S would occur to him. And so, saving an old image of Lara Croft from Google and uploading the JPEG into his database’s search engine, he awaited the results, not entirely sure what he expected to find but certainly surprised at the result.

It was expansive, and so coagulating evidence was no simple task, but piece-by-piece, Zip still managed to sift through the information and drip feed what he found online, using his moniker — @ZIP — on the forum he created; thus, CROFTWATCH was born in September 2013.

[kanski03]

               CHARACTERS :    LADY AEMILIA E. CROFT

The daughter of an aid to the future-President of Guatemala José María Reina Barrios, Aemilia de Millau was born in Europe after Reina Barrios had been sent and stranded there by the President Manuel Lisandro Barillas, under the false pretences of a diplomatic appointment.

Her parents had thus chosen to settle in Melilla, Spain, with the Sephardic Jewish community there. She would be born there in Melilla in 1890, along with her twin brother, Armando, where they elected to remain. Her father, Juan Pablo de Millau, had long claimed that they were descendants of Luis de Torres, the interpreter of Christopher Columbus’ company who settled in the West Indies. De Torres was known to have spoken offensively about Catholicism, dissuading natives from adopting it — having forcibly been converted from Judaism during the Spanish Inquisition to avoid persecution —, before supposedly being killed along with the rest of his garrison.

A young socialite when she met Lord Henshingly Croft in 1911, an Earl and by then already an established statesman, the two married shortly after. The two lived first in England and, once Lord H. Croft was discharged from the British Army in 1916 due to an injury sustained in the Battle of Gallipoli, gave birth to their first and only child, Lara, in 1917.

After her daughter’s birth, Lady A. Croft suffered from postpartum depression, and a physician would diagnose her as suffering from ‘puerperal insanity’, that presented itself through instances of psychosis and mania, triggered by the physical and mental strain of her particularly difficult labour. She was prone to melancholia and restlessness, which in turn led to the inability to sleep and the refusal to eat, as well as bouts of violence. For the child’s safety, Lady A. Croft and her daughter were kept separated, advised by the physician treating her that she only allowed to see her child under strict supervision. 

The family eventually relocated to Shimla, India, once Lord H. Croft was appointed the position as Viceroy of India in 1923. By then, her mental state had seemingly improved somewhat, but she still could not abide her daughter’s presence. Lara would instead be raised by an Indian nursemaid (known at the time as an Ayah), Shruthi Nadar, as was still quite commonplace at the time in upper-class British families, until 1926.

In 1926, Lady Aemilia Croft and her daughter, were declared missing. Lady A. Croft's body would be found a week later, and the expectation was that Lara too had died. Three weeks later, however, the child would return to the family’s compound of her own volition, with little memory of the experience.

Following her death and the sensationalised accounts printed in British newspapers at the time, Lord H. Croft withdrew from public society. A few months after returning to England, his daughter was sent to attend boarding school. Lady Aemilia Croft is buried in the Undercroft of Croft Manor.