Now all I have to do is work out how to really break John, and not just disturb him, and I'll have something.
He sometimes gets disturbed by the war-murder-and-general-peril stuff, but he's shown that he can cope with all of that, so that doesn't work for the big guns. It'd have to be something a fair bit nastier, and there's so much surface-level stuff that it's hard to get a grip on what's underneath, if that makes any sense.
ETA: I've had an idea!
So, the whole place is quiet. Like spooky quiet. And neither one of them deals with the quiet and lack of action that well (monsters would be almost too easy). And there's this missing kid - no one they know, just a kid. And they're looking, and there are these screams that they hear from quite a long way away, and go chasing after. But they keep turning up too late, and there's bits of hair, and sometimes blood, and maybe, every once in a while, a finger.
Sherlock thinks it's fascinating. So many clues. So much evidence that's on the verge of adding up.
John knows that there's a kid, and he keeps being too late, and the kid's being hurt worse and worse because he's not fast enough. And he cares.
And it ties in with all of this other stuff, relating to kids he saw in the war who he couldn't help, and kids who were killed by his side as collateral damage, and people he couldn't save as a doctor, and basically all of the times he couldn't save people. And there are the usual spooky-supernatural Silent Hill coincidences, where I haven't filled in the details yet, so it all builds up to one big bundle of "People get hurt and you can't help them nearly enough, and you hurt people, because that's what you're good at" (he is an extremely good marksman, among other things), and then Sherlock's all "I'll go check the hotel, you go check down by the lake" and it all comes to a head.
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He sometimes gets disturbed by the war-murder-and-general-peril stuff, but he's shown that he can cope with all of that, so that doesn't work for the big guns. It'd have to be something a fair bit nastier, and there's so much surface-level stuff that it's hard to get a grip on what's underneath, if that makes any sense.
ETA: I've had an idea!
So, the whole place is quiet. Like spooky quiet. And neither one of them deals with the quiet and lack of action that well (monsters would be almost too easy). And there's this missing kid - no one they know, just a kid. And they're looking, and there are these screams that they hear from quite a long way away, and go chasing after. But they keep turning up too late, and there's bits of hair, and sometimes blood, and maybe, every once in a while, a finger.
Sherlock thinks it's fascinating. So many clues. So much evidence that's on the verge of adding up.
John knows that there's a kid, and he keeps being too late, and the kid's being hurt worse and worse because he's not fast enough. And he cares.
And it ties in with all of this other stuff, relating to kids he saw in the war who he couldn't help, and kids who were killed by his side as collateral damage, and people he couldn't save as a doctor, and basically all of the times he couldn't save people. And there are the usual spooky-supernatural Silent Hill coincidences, where I haven't filled in the details yet, so it all builds up to one big bundle of "People get hurt and you can't help them nearly enough, and you hurt people, because that's what you're good at" (he is an extremely good marksman, among other things), and then Sherlock's all "I'll go check the hotel, you go check down by the lake" and it all comes to a head.