Adventure ↠ Dean x Reader

➼ Word Count » 0.6k ➼ Warnings » None ➼ Summary » Platonic/Romantic, Fluff

“We’re headed to Vegas, darling! You and I are gonna make a name for ourselves. Stars in the center of the wastes!” Dean never seemed to stop talking in the few weeks you'd been traveling with him. He'd just go on and on about what he wanted the future to hold, and currently, he wanted the end to hold both of your names in neon signs and spotted lights. As lovely as it sounded, you weren't exactly one for big crowds and fancy stages, you'd instead want to do something backstage.

"Vegas? I thought you let go of your 'getting rich' obsession."

"I let go of the Madre, not my career." He retorted, brushing the dust and sand off of his suit. "Besides, we're gonna need somewhere other than a shed to sleep in if we want to continue living out here."

"We?" You repeated, smiling teasingly at the ghoul, "Don't say things like that too loud, people might talk."

His eyes flicked over the rim of his glasses, meeting your own momentarily, "So what? Would that really be so bad?"

You shrugged, noting the shift of tone in his voice as he spoke, "Depends, what kind of reputation do you want to uphold?"

He chuckled, "Let me worry about that, dear, I've got most everything worked out."

"Oh yeah?" You said, curiosity dripping from your speech, "What's the plan for when we make it to Vegas?"

"I'll get myself a job, of course! Be an entertainer in one of the casinos and you could do―well, whatever you do best, I suppose."

Whatever you do best? A bodyguard perhaps? You're pretty decent with a rifle, and you made it out of the Madre alive, didn't you? You could act as a hired gun around the surrounding towns while Dean made a name for himself. Yeah, you decided, that'd work out just fine with you.

"Sure, just don't forget about me when you’re famous." You joked. Well, it came out as a joke, but it was something you were genuinely concerned about, you just didn't know how else to bring it up in conversation.

"Forget about you? No, my dear, I couldn't! It's too late for that! So far, you're the only person I've got! Besides, you're too capable for me to simply hire a hit. No, I'd much prefer that you and I were on good terms, from now until we part to our graves." It wasn't the best response you could've gotten, but it answered your question and gave you a slight surge of confidence in the process.

"Alright, Dean, let's go get rich!" You proclaimed, punching his shoulder.

This certainly wasn't what you thought you'd be doing once you escaped, but it wasn't entirely unwanted. The strange relationship you had with the lounge singer could work out nicely if the two of you compromised with each other and worked hand in hand.

Despite what Dean preached, you weren't sure what your future would hold. Everything here with Dean would continue to be one grand adventure―a chance into the unknown with the unknown, but that was all a part of it, wasn't it? If the two of you wanted to begin again you had to let go of the things you found familiar. It was all a part of this unique journey you both decided to trail behind. The biggest difference in the scheme of it all was that now you’d both have someone to fall back on―a plan B so to speak. Someone that you had shared a part of your history with. You had to admit, you were a little excited about what Vegas had in store for you both.

nooo brother elijah youre so sexy don't steal my equipment hahah

Fallout Opinion Survey- Results!

Thank you so much to all those who took part! We had 421 usable responses in total :D

One quick note- the nature of the data this time around means that most of the auto-generated charts are usable as they are, which does mean this post will be very image-heavy. I’d be very appreciative if someone who knows how to write image descriptions for charts could add them on!

Without further ado, let’s get into the results...

The Basics:

Favourite DLC:

Dead Money- 115 (...nice) Old World Blues- 94 Far Harbor- 76 Lonesome Road- 53 Nuka World- 27 Point Lookout- 17 Honest Hearts- 11 The Pitt- 9 Mothership Zeta- 7 Automatron- 3 Operation Anchorage- 3 Broken Steel- 2 Vault-Tec Workshop- 1

Favourite faction:

Followers of the Apocalypse- 146 Railroad- 62 Minutemen- 45 NCR- 23 Kings- 22 Brotherhood of Steel (all chapters combined)- 20 Yes Man/Wildcard Courier- 18 Great Khans- 14 Enclave- 10 Caesar's Legion- 8 Raiders (76, Nuka World and general combined)- 8 Institute- 6 Chairmen- 5 Unity- 4 Atom Cats- 3 Mr House- 3 Boomers- 3 Freeside- 2 Responders- 2 Children of Atom- 2 Ghoul settlements in general- 2 Hubologists- 2 Tunnel Snakes- 2 And the list of those with one vote each: The Family, Think Tank, Reaver Movement, Ciphers, Broken Hills, Powder Gangers, Reilly's Rangers, Acadia, Goodneighbor, Underworld, White Glove Society, Omertas, Jacobstown, post-Legion Ulysses, Cult of the Mothman, 80s, and talking Deathclaws from Fallout 2

Favourite companion:

Arcade Gannon- 75 Nick Valentine- 53 Hancock- 39 Veronica- 38 Deacon- 30 ED-E- 26 Raul- 23 Boone- 22 MacCready- 13 Christine Royce- 12 Dogmeat (all)- 11 Fawkes- 10 Preston Garvey- 10 Charon- 9 Rex- 9 Butch Deloria- 8 Goris- 8 Cait- 7 Danse- 7 Piper- 7 Lily- 6 Marcus- 6 Rose of Sharon Cassidy- 6 Curie- 5 Porter Gage- 4 Dean Domino- 4 X6-88- 3 Strong- 3 Ulysses- 3 RL-3- 3 Ian- 2 Dog/God- 2 Codsworth- 2 Joshua Graham- 2 Old Longfellow- 2 Lenny- 2 Ada- 2 And the 'list of ones': Tycho, Katja, Follows-Chalk, Sydney

-

The Lore:

(other titles specifically mentioned in the final question: Metro and Doom)

Characters headcanoned as synths: The Sole Survivor (by far the most common theory), Sturges, Deacon, Preston Garvey, the Lone Wanderer in Broken Steel, James/Dad, Dogmeat, Three Dog, Parker Quinn, Charon, Courier Six, Tinker Tom, Zeke, Arthur Maxson, Father/older Shaun, Piper, Travis Miles, Mysterious Stranger, Caesar ('cause funny'), Joshua Graham, most Children of Atom, Desdemona, Myrna, Marcy Long, Mr Burke, Vault 76 Overseer, Trashcan Carla, Cricket, many BoS and Enclave members, Reaver Movement members, Redeye, Moira Brown, Dr Zimmer, Ranger Ghost, most birds, Arcade Gannon, Elijah, Lizzie Wyatt, Kellogg, Mama Murphy, Nat Wright, and Sierra Petrovita

(please note I'm not all that familiar with Fallout 4 lore, if any of the FO4 peeps here are canon synths then I didn't know about it lol)

Fan theories/headcanons from the final question that cropped up repeatedly (in approximate order of popularity):

Vault-Tec started the Great War

Alien involvement with the pre-war US government and/or the Great War

Horses are still around

Talking Deathclaws are still around

Occult/eldritch influence (e.g. the Dunwich building) is widespread

Charon is a survivor of Vault 92

Deacon is a founder of the Railroad and his 'real' backstory was another lie

Veronica and Christine reunite

Sarah Lyons is alive

Gen 3 synths and ghouls still need to eat, drink, sleep and so on

Ghouls only turn feral in specific circumstances (suggestions include prolonged isolation and relying too heavily on radiation instead of food as a source of energy) and it is not inevitable

International travel and immigration continues

Danse and Harkness were sent to the Capital Wasteland by the Railroad together

X person is actually multiple people- suggested for Deacon, Legate Lanius and Vulpes Inculta

The US is the either the only place that was nuked or the only place that hasn't rebuilt and recovered, and the rest of the world is just ignoring them and carrying on as normal

Cass is the Chosen One's daughter

Mama Murphy is the Chosen One

No-Bark Noonan is the Chosen One (lots of Chosen One theories popping up lol)

All subsequent Dogmeats in the series are named after the legend of the original Dogmeat

Father is not really Shaun

MacCready is lying about Duncan being ill (or one person even suggested Duncan existing)

Yes Man overthrows the Courier after being upgraded

The real Lone Wanderer died at the end of the vanilla game even if Broken Steel is installed, and the Broken Steel LW is a synth

Deacon once worked for the Institute

Deacon deliberately leads people to theorise that he is the Lone Wanderer to throw them off

Deacon is or was once a ghoul (also plenty of Deacon theories)

The Mysterious Stranger is a time traveller who protects the various PCs to maintain the timeline

Appalachia was turned into a barren wasteland by the nuclear trigger-happiness of the Vault 76 Dwellers (possibly interesting aside: my brother, who buys into this one, has gone as far as to theorise that the original Great War used very low-yield weapons and wasn't that severe on the environmental level (as far as literal nuclear war goes, that is), and it was the Vault 76ers nuking the hell out of Appalachia that triggered a continent-wide nuclear winter and sent the ecology of the wasteland into the state it's in in all subsequent games)

Glory is not a synth

The (in-game) reason for lore clashes and retcons is that the plot of each game is a retelling  of the story as it's passed around in the wasteland, so some details have been embellished or mixed up

I’ll be coming back to the theories from the final question at some point, but aside from that, that's a wrap! There isn't really much potential for me to play around with the data here like with the OC surveys, so this was more just me presenting the data as it came in without commentary. Still, I hope this is somehow interesting/insightful!

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Benny's Big Score

It turns out that New Reno was not a great place.

It seemed like a good idea at the time, a solution to his problems. But it wasn't.

New Reno was dirty, but not in the same glimmery-glittery way that New Vegas was. It wasn't like when he had come to Vegas for the first time, the Bootstraps with him. He was alone. There were no chairmen to protect him, no brothers willing to die with him.

Sitting in the dingy bar, he curses the courier under his breath.

"Oh, don't get me started on Couriers." a melodic voice chimed in. A smooth-voiced ghoul in a fancy pre-war tuxedo sat down on the barstool next to Benny. "You wouldn't know the half of it."

"A courier done you wrong too?"

"I gave as good as I got." the ghoul replied, and in him, Benny recognized that they were both well-dressed men who had been chased out by couriers.

"And yet we're still sitting here in this bar, ring-a-ding." Benny took a sip of his drink. Disgusting as it was (and expensive!), Benny's pride as a Bootstrap and leader of the Chairmen kept him from spitting it out. "Say, who are you anyhow?"

The ghoul rolled his eyes under the sunglasses he wore.

"200 years ago everyone knew my name. Dean Domino's the name, don't wear it out."

Benny's eyes widened.

"That for real? Where ya been hiding out all this time?" Benny questioned, leaning on the bar counter. "Could have used you back in New Vegas."

"You wouldn't believe me if I told you." Dean answered smoothly. Benny prodded at him again in his "Ring-a-Ding-Ding" fashion, and Dean sighed before answering. "The Sierra Madre."

"Woah, let's keep it in the grove. You," He paused for emphasis. "Are the ghoulified version of prewar icon Dean Domino and you've been hiding out in the casino in the land of the dead?"

"Yes, I suppose if you put it like that."

"I'm the Ben-man, the kingpin of the whole Strip." Benny said, bitterly drinking from his glass. "Or I was."

"Taken down by a courier?" Dean snarked.

"Ain't that a kick in the head. You think you put one in the ground but then they follow you home and try and climb in your bed. Ruin your damn plans. But I'll be back."

"The courier-I never caught their name-banned me from Vegas. They threated to kill me if they ever saw me again. As if they'd get the chance."

"You and me, we're men cut from the same cloth." Benny said, and Dean looked over him.

"Are we really?"

"Yeah, we're both men screwed over by couriers when we could've been kings!" Benny rubbed his hand over his jaw, and then continued. "Y'know...we oughta get together sometime. We could get revenge on the Mojave Express and I have a lot of draw in New Vegas. I could even get you a job preforming in the Tops. Hell, even the Lucky 38."

"Why not?" Dean agreed. Thinking a moment, he asked. "That courier you knew, did they have a large scar on their head?"

"They did actually...a gift from me. Tie, I think that's their name. Well, it's what their boy-toy sniper-type called them when they weren't trying to jump into bed with me."

"Two birds with one stone." Dean said. "Shall we?"

"Yeah, pal."

It took time to get back to New Vegas. This gave them time to plan and plot and scheme about how to get their revenge on the courier.

More or less, it was easy for them to get into the Strip. After all, this was the land that Benny was Chairman of. He was also very skilled with computers, so it wasn't a challenge for Benny to hack into the securitrons.

Their first stop in Vegas was Mick and Ralph's. Throwing a cap to the crier boy outside the story, Benny asked "Are your old men inside?"

The boy responded and Benny strolled into the building like he owned it. Explaining to Dean, he added, "It helps to bring flowers home."

"Benny." Mick greeted shortly.

"Mick, my guy! How's the family?" Benny sidled up to the store owner. "Say, have you gotten any flowers in lately?"

Mick sighed and retreated to the back room. He returned with a wilted bouquet.

"I've only got these in because of Pacer. You know how he's gonna get, you're throwing of his plans with" Mick complained, but Benny cut him off.

"Tell him to send all his complaints to the Tops!" He exclaimed and snatched the bouquet. It was dry and wilty, formed from common Mojave plants rather than one made from Vault-Tec's greenrooms. It must have come in with Crimson Caravans, Benny thought, but Swank would like it well enough.

He shoved a couple caps into Mick's hand-underpaying people was something that got him into trouble before.

"To the Tops!" He called, and Dean followed him.

"Ugh. How things have changed." Dean groaned. "What have you done with the place?"

"Seal it, Dean-o! I've got a man to see. Our plan won't work without Swank."

The man in the check-in window looked up when Benny said his name.

"Shit, Benny. I haven't seen you in ages."

"Missed you too, Swank. You didn't even kiss me goodbye."

"You're not supposed to be here. I know you tried to kill that courier."

"C'mon, Swank. You've gotta let me explain." He gestured with the bouquet. "I brought you flowers."

Swank looked like he was conflicted, but then he sighed.

"Fine. Explain then, boss."

"Alright, so the courier. I did try and kill that courier, but I had good reason for it. You've got to believe me. I needed the platinum chip."

"You can't just keep saying I have to let you explain and I have to believe you. It doesn't work that way. But I'll bite. What's a platinum chip and why did you need it?"

"It's what we need. If we have it, we can upgrade the securitrons and then we won't need the NCR or the Legion or House to protect New Vegas." He smiled bitterly. "It would have been freedom for all of us."

Swank looked at Benny silently.

"I know why I failed now. I needed you and the Chairmen. I needed you."

That seemed to certify it for Swank. He inhaled deeply and then exhaled.

"Alright Benny. But this is the last time. You mess this up and it'll be the end-not just for you and me, but for all of us." He made cautious and firm eye contact with Benny. "What's the plan?"

"You're the man, Swank!" Benny shouted excitedly and leaned over the weapon-check counter to wrap a hand around Swank's shoulder and pull him down for a kiss. Releasing him, he continued. "Oh, it's a doozy of a plan."

Swank looked around and then signalled to another Chairman.

"You take over here." He said, and stepped out from behind the weapon check counter.

The plan was a doozy, Swank thought as he walked from the Tops to the Lucky 38. He hoped the Courier was staying there tonight. If not, he'd have to regroup with Benny and Dean to send them to the Atomic Wrangler instead.

Night had fallen quickly over New Vegas in the hours after Benny had made up with Swank, but his thoughts were quickly interrupted when Swank bumped into someone.

"Watch it," He barked. Looking at the young woman, he realized she was a courier-she had a courier's duster loosely over a purple shirt-but not the one they were going to kill.

"Eh? Did you need something?" She said, "I'm going to Show Low."

It was a dangerous route for a courier because it went right into Legion teritory, but Swank didn't care. It seemed like a good idea at the time, a solution to his problems. But it wasn't.

"Sorry. Good luck!" He said and continued on route to the Lucky 38.

"You too?" Swank heard, but there was a lot of noise. The Strip was loud.

Arriving at the Lucky 38, he let himself in. The collar weighed heavily in his pocket, but he knew that was just in his head. It couldn't weigh more than a pound or two.

"Hello?" he called. "I need to speak to the Courier? It's really important..."

There wasn't any response for a moment. Then the elevator chimed and two people exited.

One was the Courier, and the other was a bitter-faced sniper with an NCR beret.

"Oh...Mr. Tops?" The courier said. "Did you need something? We were just on our way out..."

"Yes, and it's very important. And it can't wait." Swank replied

The little computer on the Courier's arm beeped.

"Alright, what's going on?"

"Sit down, this is very important news." The courier sat down. The sniper stood to the side.

His hands were starting to sweat and he wiped them on his suitpants. Ugh, he could almost hear Benny scolding him for dirtying it.

"I've discovered..." He spoke softly...and the courier leaned into hear better. Just as they planned. "Sorry."

With that, he swiftly reached into his coat pocket and snapped the collar around the courier's neck. It latched closed and armed before they could even move.

They startled back, but it was of no use.

"Recognize it, courier?" a charismatic and smooth voice called as Dean Domino and Benny Gecko strolled into the lobby of the Lucky 38.

The Courier's face was fearful, but the sniper's eyes were full of rage. Their hands clawed at their throat, but it was futile against the explosive collar.

"I wouldn't do that, Pussycat." Benny's voice chimed in. "It's rigged to blow. But I'm sure you knew that. According to my new friend here, you've had some experience with them."

"Dean." They said quietly. " You were warned. I told you what I'd do if I ever saw you again. I'll kill you even if I have to take you down with me."

"Geez, Domino, what'd you do to make 'em hate you so bad?" Benny ran a hand through his hair. "I shot them in the head-twice, even-and left them for dead. And they still tried to sleep with me! Oh, and I wouldn't go making any moves there, friend, unless you'd like your little courier blown to bits. Or do, it would make it easier on me."

"I believe it was that I had their little friend's vocal cords ripped out. Or maybe it was the whole threatening to blow them up." Dean answered. "I never narrowed it down."

"Wow, Benny!" the Pip-Boy beeped. "I never thought I'd see you again! You keep some interesting friends!"

"Yes-Man?" Benny questioned, and then waved it aside. "Eh, never mind. When I've got the platinum chip, I can fix whatever they did to you."

"Yes-Man," Antietam said, dropping their hands from their neck "Could you keep it down? I'm about to get blown up."

"No, you're not." Boone reassured them quietly. "Gotta be some way to take these guys out..."

Internally, Antietam was weighing whether it was worth it to charge Dean and take him down with them. But there was a likelihood of Boone being injured in the blast, so it wasn't going to work out.

"Now, now Courier..." Dean said. "Where did you take the treasure when you ran off? You ruined over two hundred years worth of revenge."

The courier wanted to lash out, but they reigned their temper in.

"You ruined it...You ruined the whole Sierra Madre, did you know that? It could have been a safe haven, a shelter from the nuclear anihilation. But you couldn't tolerate what you percieved as an insult to your ego! And you ruined Vera's life-she was dying and you blackmailed her!" Their vitreolic rant paused. It wasn't the whole sad story, but the only one who knew that was Antietam. And they were too angry and biased against Dean to really care that their rant was biased. "What do you have to say for yourself?"

"Woah, let's calm down, Pussycat. You keep yourself under control or one of us might just forget ourselves and hit that button. We wouldn't want that, now would we? Let's get down to business." Christine and Veronica ran downstairs.

"Hey, what's going on? We heard commotion." Veronica said, and then when she saw the situation, she put her hands on her hips. "Are you guys having a party without me?"

Christine, on the other hand, growled.

"Dean." It came out in Vera's voice, and if Dean had skin, it would have gone pale with fear. As it was, it broke his composure.

"So it worked." He said finally.

"Alright, don't make any moves!" Benny shouted. "You try anything and I'll blow your friend to smithereens."

"Who are these guys?" Veronica asked.

"Some guys who tried to kill Tie before, I think." Boone answered

"Dean Domino, Swank Gecko-Pierce, and I'm the pro from Dover." Benny barked. "Now I want answers! Where's the platinum chip?"

None of them answered.

"I guess none of you value the Courier's life, seeing as none of you are providing answers." He pulled Maria from his pocket. "No matter. We'll start with the boy toy."

With that, he leveled Maria at Boone.

"Things are getting a little heated, Benny." Swank said, making eye contact with the checker-suited man.

"Stop." The Courier said. "I'll tell you where I hid the chip. Just let my friends go."

"Benny, this is getting more heated than I thought it would." Swank noted.

"Can it, Swank. We're about to get some answers!" Benny responded.

"It's in the dresser in the motel in Novac. Let my friends go, Benny."

"It's like it doesn't even matter to you!" Benny exclaimed. "It-" Swank cut him off by setting a hand on Benny's outstretched arm.

"Benny, calm down. We don't have time for his right now."

"Yeah, Benny, calm down." Dean chimed in, although it was clearly mocking him, which Benny picked up on immediately.

"You got something to add, Deano?" Benny snarked back.

"You know, Ben-man, I think I'm tired of playing accomplice. I'm so tired of playing second fiddle...I think I'll kill you and your friends and claim New Vegas for my own."

"Yeah, that's not happening." Benny fired back. He pointed Maria at Dean. "It's been real and it's been great, but it's not real great."

He fired.

"Shit, Benny, you missed." Swank said, to which Benny responded "Shut up, I know I missed."

He shot again and again and Dean didn't move, until he slumped to the ground, full of lead.

"Well, that's a bust." Benny said. "Hey, whataya say, Courier? We can burry the hatchet with this guy and work together. I won't kill you or your little friends and you won't kill me and Swank. Fair's fair, right?"

It was a stretch-even now, Christine and Veronica's nimble fingers were removing the explosive collar from the angry courier's throat. But Benny had always been a gambling man.

[Lydia and Dean leaving the Thorn on the trail of a missing child, Dean noticed how tense things were between Red Lucy and Courier.]

Lydia: Six months. Dean: Six months what? Lydia: [about Red Lucy] We dated for six months. Dean: I didn't ask. Lydia: Yeah, I know. You were not-asking very loudly. Dean: I know. I'm like a Jedi like that. Lydia:....what’s a Jedi? Dean: Oh you have much to learn my young Padawan...

I don’t care if I fall for the devil, as long as he loves me the way he loves hell.

Courier Six and the King of Swing

X: Strike Up The Band 

Hi! I'm kin w Courier Six from Fallout New Vegas. I was a short, blonde, afab nonbinary w brown eyes!! I was independent Vegas! My best friend was Arcade who I already found, another close friend was Dean Domino - also found. I'm searching for Ulysses, Veronica, Christine, Boone, Lily and even Benny honestly? I'm 18 years old and dont care for Courier Six doubles, I dont mind talking to 16 and older btw. I'm also Dr Mobius, Deacon and Lone Wanderer, doubles are okay for these and I miss everyone

x

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Her early work took the form of “wordscapes” or “still films"—blow-by-blow accounts written in her own words of feature films including Point Break (1991) and The Desert (1994). Her work took the form of solid single blocks of text, often the same shape and size as a cinema screen. In 1997, she founded The Vanity Press, through which she published her own works, such as the Nam, The Bastard Word and All The World’s Fighter Planes. The Nam (1997), is a 1,000-page book which describes the plots of six Vietnam films in their entirety: the films are Apocalypse Now, Born on the Fourth of July, The Deer Hunter, Full Metal Jacket, Hamburger Hill and Platoon. Since then she has published many works, some in the form of books, some sculptural, some performance based. In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work.

Following her shows at the Neuer Aachener Kunstverein, and Dundee Contemporary Arts, Banner was nominated for the Turner Prize in 2002. The wall of her show in the Turner Prize exhibition at was dominated by a 6 x 4-metre advertising billboard, titled Arsewoman in Wonderland. The billboard presented a written description of a pornographic film. The Guardian asked, "It’s art. But is it porn?” calling in “Britain’s biggest porn star”, Ben Dover, to comment.The prize was won that year by Lancastrian artist Keith Tyson.

In 2010, she was selected to create the 10th Duveen Hall commission at Tate Britain for which she transformed and displayed two decommissioned Royal Air Force fighter jets. Other recent exhibitions include: Runway AW17, De Pont Museum, Tilburg, Netherlands (2017),Buoys Boys, De La Warr Pavilion, Bexhill, UK (2016),Scroll Down And Keep Scrolling, Ikon Gallery, Birmingham, UK (2015) and Kunsthalle Nuremberg, Germany (2016), Wp Wp Wp, Yorkshire Sculpture Park, Wakefield (2014).

Banner’s work includes sculpture, drawing and installation; text is the core of her oeuvre. She has also treated the idea of the classic, art-historical nude, observing a life model and transcribing the pose and form in a similar vein to her earlier transcription of films.

On 1 October 2010, in an open letter to the British government’s culture secretary Jeremy Hunt—co-signed by a further 27 previous Turner prize nominees, and 19 winners—Banner opposed any future cuts in public funding for the arts. In the letter the cosignatories described the arts in Britain as a “remarkable and fertile landscape of culture and creativity.”

Fiona Banner, Born 1966. Lives and works in London. 1986–9 Kingston Polytechnic 1992–3 Goldsmiths College of Art. She is fascinated by the near impossibility of containing action and time in a prescribed form. She is best known for making hand-written and printed texts 'wordscapes' or 'still films', that retell in her own words entire feature films or sequences of events[fn]Only the Lonely: Fiona Banner, Bridget Smith exh. cat. Frith Street Gallery, 1997, p.13[/fn]. These personal transcriptions, which began in 1994 with the film Top Gun, also highlight the way in which actual or imagined events are fictionalised and mythologised. In a recent body of work based on Vietnam war films, Banner has deliberately posed questions about the fictionalisation of historical events.In 1997 she published THE NAM 1997, a one thousand-page book comprising her own frame by frame descriptions in continuous text of the Vietnam war movies Apocalypse Now, Born on the Fourth of July, The Deer Hunter, Full Metal Jacket, Hamburger Hill and Platoon. Her texts, representing eleven unbroken hours of harrowing film, hint at the excessive nature of imagery in our culture. When Banner asked a friend to read THE NAM he concluded that in its entirety it was 'unreadable'. This prompted Banner to makeTrance, a twenty-hour, twenty-two cassette unabridged reading of the book in which the action movies unfold in an hypnotic stream of words.The format of Banner's work is always carefully considered in relation to its content. For example, The desert 1994/95, Banner's retelling of David Lean's epic film Lawrence of Arabia, suggests the panoramic scale of a cinema screen, as well as the vast horizontal expanse of the desert.You gota lot of nerve 1998 is inspired by Bob Dylan's classic song Positively 4th Street. With their accusatory use of the word 'you' Dylan's lyrics seem designed to address specific individuals on a widespread scale. The monumental scale of Banner's canvas, and the proximity of its confrontational words to the viewer, suggests that the 'you' in her text is directed personally to each visitor. Banner's rendering of the acrimonious words are incised into the canvas.[fn]Banner's text begins, for example, with the lines:You gota lot of nerve to say you are my friend, you just wanna be on the side that's winning. You gota lot of nerve to say you got a helping hand to lend, when I was down you just stood there grinning'.[/fn] Ironically this leaves the canvas fragile and vulnerable – the biting words, which bear down on the viewer, are strangely hollow, existing only as negatives or shadows. In this way the artist alludes to what she perceives as the constant power struggle between words and their meaning. Banner is also interested in such seminal and iconic figures as Dylan, who never seem comfortable with celebrity and fail to live up to their own mythic image.In a series of works based on the genre of the car chase, Banner succeeds in giving visual and literary form to a genre virtually found only in films. The most recent work in this series, Break Point, is based on the chase scene in Kathryn Bigelow's cult film Point Break (1991). The slogan featured in the advertisement for the film was, perhaps accurately in this case, '100% pure adrenalin'. Banner transforms and contains the nail-biting and seemingly endless chase into an arresting landscape of words. As the distance between pursuer and pursued closes, the space between the letters and lines of text stencilled on to the canvas in hazard red correspondingly collapses, until the climax of the chase ends in a crash of words at the bottom of the canvas. But significantly, the chase does not reach completion - when the pursuer finally catches his human quarry, he lets him get away.[fn]Banner describes this moment as follows:He shouts something and it echoes across, the guy still running jumps at the wire fence, up there he's hanging off it. He turns round and his face is close and breathless, he wants him so badly. Can't shoot, staring the bullet right out, he stares through the crack in his face. He's still down there clutching the gun, he falls onto his back, holding the gun like it's everything. He glances at the other guy high on the fence, then he stares straight up and the bullets volley into the sky.'[/fn]In 1997 Banner exhibited a neon work in the shape of a full stop, 'the smallest neon in the world'.[fn]op cit Only the Lonely[/fn] Following this she has made a group of enormously enlarged full stops carved in polystyrene. Although varying in size from about two to four and a half foot high they are all enlarged to scale from a variety of such fonts as Courier, Nuptial, Garamond, Blippo, Zapf Chancery, Century and Wing. They each have the same point size but the expanded scale reveals the curious anomalies latent within an apparently universal and uniform symbol.These sculptures evolved from a group of large-scale pencil drawings of full stops in which Banner attempted to investigate the supposed immateriality or insignificance of a full stop. Sanded down, the white polystyrene sculptures have an illusory surface, their distorted ovoid shapes humorously mimicking the perfect forms of the sculptures of Brancusi. Placed on the floor rather than on plinths, the full stops have to be negotiated as physical objects. The artist has referred to the floor as 'the bottom line'. In this sense visitors might be seen to function as letters mingling amongst the punctuation marks, giving meaning to the spaces between.The full stop represents an ending but also signifies a beginning, an in between or a gap. Like the polystyrene, which is used as a packing material or 'space-filler', the full stop is transient. The names of the fonts are displayed on accompanying packing boxes, providing a possible titling system for the sculptures. The boxes also reinforce the idea that the full stops are transportable and multilingual.A full stop denotes the end, and in this sense these works relate to Banner's enduring fascination with the framing or definition of a subject. They also draw attention to the intelligent yet playful investigation of various forms of mark-making, which underpins much of her work.Text written by Virginia Button. 

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