Dec 09, 2009 15:10
It is winter in Colorado: six inches of snow on the ground, and more falling still, snowflakes swirling with gusts of wind. The peaceful scenario of the suburban area is ruined by the sound of fighting in the distance as the small group steps in from the End of the Universe.
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An MCV is a massive truck, loaded with construction equipment and materiel, painfully slow on itself, but making up for its vulnerability in usefulness, since an MCV can deploy and set up a combat base in a matter of hours, and basic defensive positions in a matter of minutes.
Indeed, they are facing the former type right now: ten foot high concrete walls surrounding buildings. While they move into position, facing the south-east wall, the commando points out the two power plants. "Those are yours, Teja." And he indicates the six national guard troops following. "They will follow your lead; try to hit them dead center, if it takes damage enough, the systems shut down to prevent an explosion." It is a long shot, but the woman trusts the dead king to be able to make it ( ... )
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It is quite a large explosion, and it seems to worry the enemy. A lot.
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Tanya starts doing her job, shooting a couple sentinels on the walls and waiting for more to come up while Teja prepares to blow up the second plant.
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Tanya shoots down a couple more conscripts, and now all hell breaks loose: recovering from the surprise the Reds start rallying, breaking in fireteams as needed.
In a few moments the small group of attackers will be under fire.
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They may be under fire, but conscripts are still dying left, right, and center.
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And hits.
"Do we kill them all, or flee?" he asks.
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Low power.
A roar of jets in a crescendo should be warning enough, but Tanya calls out anyway while diving for cover. "We duck!"
A couple seconds later the rocketeers sweep by, opening fire against the base, attacking the conscripts' positions; at the same time, the rest of the meager Allied troops charges for the gates.
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If there are no objections, she'll keep picking off any conscripts that are unfortunate enough to get in her line of sight.
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"May I have a rifle?" he then asks, politely.
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She will make her way to the wall, to help the others climb it and make their way in.
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She'll make her way to the wall, grumbling at the feeling of a possibly broken collarbone.
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There shall be more personal death now, fights where he can see the opponent. The part of him that used to laugh in battle looks forwards to it.-
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One lesson that Tanya learned soon is that marksman or not, gunfights are not what you see in the movies: they’re dirty, nasty and personal. The fight among the buildings is that way, when they fire most of the time they are close enough to see the realization in their enemy's eyes, that they are too slow, too weak to keep on living.
When her guns go off, when the bullets pierce flesh, there is blood, red and warm spattering blood. In a movie you see neat holes appearing and blood trickling out, in a real gunfight the blood gushes out with all the pressure of a racing heart: it is on her hands, on her guns, on her clothes, testimony of the up close and personal fight, of the fractions of a second that stood between the commando and death.
Fast is slow. Slow is fast. Watch your fields of fire, pick your targets, aim center ( ... )
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