[...OH, GOODNESS, ZIA, WHAT IN THE WORLD WAS ANY OF THAT
He waits out that little outburst, though his eyes have widened considerably and he doesn't seem to know what to do with any of it; in the end, he's left with an extreme closeup of her clothes and some muffled exclamations of what sound like joy, and no idea what to do with any of it.
Uh.
Welcome to Johto?]
I'm fine. The device takes some getting used to; I don't try to write with it unless I have to, I don't recognize the letters any either. I usually leave it as video.
["Unless I have to" meaning "unless I want to keep the person on the other end from seeing my face for whatever reason."]
Rucks isn't here; the kid he was working with isn't either. I had hoped you would have some explanation for what had happened after...
[...how do you describe this, how do you describe this]
...the incident on the Bastion. It's fine that you don't; what matters is that we're here in one piece.
no subject
He waits out that little outburst, though his eyes have widened considerably and he doesn't seem to know what to do with any of it; in the end, he's left with an extreme closeup of her clothes and some muffled exclamations of what sound like joy, and no idea what to do with any of it.
Uh.
Welcome to Johto?]
I'm fine. The device takes some getting used to; I don't try to write with it unless I have to, I don't recognize the letters any either. I usually leave it as video.
["Unless I have to" meaning "unless I want to keep the person on the other end from seeing my face for whatever reason."]
Rucks isn't here; the kid he was working with isn't either. I had hoped you would have some explanation for what had happened after...
[...how do you describe this, how do you describe this]
...the incident on the Bastion. It's fine that you don't; what matters is that we're here in one piece.
[NO REALLY IT IS SO GOOD TO SEE YOU BROSIS]
I'm glad to see you again.