>>530885408
>finish the job
They wouldn't agree to a job, if one died at the start - Prometheus would probably rampage until he became inoperable, and Pandora would either become unresponsive, and refuse to move from Prometheus' side, or self-terminate upon hearing the news.
You need to give your characters a reason to give a shit about the plot; neither would try to seek redemption, if the other is gone, because the only emotional support present during their life would be gone - in the audio drama, Prometheus has a nightmare where they're both fleeing from Mavericks, which shows Pandora is ingrained in his subconscious mind; it's clear they have a sibling connection forged through hardship, that can't be handwaved with 'oh well my sibling is dead i guess i'll save the world i suddenly care about????'
You could probably write the amnesiac angle, where one is recovered, and wakes up in a bed with no real idea of what transpired, but that's just kicking the can down the road - memories will eventually return, and the question to immediately address, is going to be "Where is
?", and the the situation is going to be worse, when "Why didn't you tell me?" follows it, leading back to the first paragraph.
The ticking clock element can be addressed through many methods - partial extensions through repairs by capable third parties (Ciel is human? Have her do it, she has the credentials), still functioning repair capsules (Both siblings show some level of hacking capabilities, so they could probably rig it), bio-metal mcguffin shenanigans (Ciel is a bio-metal? Have her provide life/power/hope, the antithesis to Model W), simply having the plot operate at anime speed ('5 minutes until namek explodes', etc), have it render them inert, but alive to be recovered (Albert's plan would have been massively set back, if they had let the timer tick down, and didn't pay out their centuries of negativity - EXPLICITLY the key that awakened ouroborous at the end of ZXA)
