  
ClubFloyd Transcript:
The idea behind ClubFloyd is that each
week at a pre-arranged time, a group of
people meet online to cooperatively play
a game of interactive fiction.
|
|
ClubFloyd Transcript:
The idea behind ClubFloyd is that each
week at a pre-arranged time, a group of
people meet online to cooperatively play
a game of interactive fiction.
|
|
ToyShop & Floyditorium
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#ClubFloyd Discussion
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| *** SESSION 1 *** | ||
| Jacqueline says (to ClubFloyd), "load sleepmask drhorrorhouse" | ||
| CF ] The Count's Lair 0/1 | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | At last, after so much terror and death, you have tracked the Count to | ||
| CF | his lair in the old forest. So many have fallen. Poor Alexander, | ||
| CF | drowned in the sucking mud of the moors. Geoffrey, falling into that | ||
| CF | unexpected pool of acid. Even Susan is gone - screaming in horror as | ||
| CF | the swinging pendulum chopped her into pieces. You grit your teeth - | ||
| CF | their sacrifices will not have been in vain. | ||
| CF | | ||
| CF | One thing remains. Take your stake and drive it through the very heart | ||
| CF | of the Count. But the hour is late. The undead stir restlessly in | ||
| CF | their dreams of evil. Hurry, before all is lost. | ||
| CF | | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | The gnarled, twisted trees silhouette against the lowering sky. | ||
| CF | Thunder rumbles over the howl of the wind. In the hollow something | ||
| CF | stirs and rises through the layer of mist that creeps and winds | ||
| CF | amongst the tree trunks and mossy boulders. | ||
| CF | | ||
| CF | It is the Count! With one arm he holds his cloak in front of his face | ||
| CF | and advances towards you, the other taloned hand outstretched. Behind | ||
| CF | him, the Countess, clad in revealing diaphanous white, leers and | ||
| CF | snarls and she is followed by the Count's vampire thralls, their fangs | ||
| CF | bared. | ||
| CF | | ||
| CF | "Now is the time you die, Professor," hisses the Count. "One more soul | ||
| CF | for my army, and then nothing can stop me!" | ||
| CF | | ||
| CF | > | Knight_Otu says, "Well, that's already a grim beginning." | |
| DavidW asks, "> take stake. kill Count?" | ||
| MoyTravis says, "I would, like, assume we already have it." | ||
| DavidW says, "okay" | ||
| DavidW says (to ClubFloyd), "kill Count" | ||
| CF | > | ||
| CF | > KILL COUNT | ||
| CF | | ||
| CF | "CUT!" screams an exasperated voice behind you. You turn. Behind the | ||
| CF | set, hunched like a malevolent gnome in his chair is Harry | ||
| CF | Higginbotham, the Director. "The line," he snaps at you, "is 'I will | ||
| CF | rid the world of your evil.' Do you think you can manage that? Twenty | ||
| CF | one takes so far." He sighs heavily. | ||
| CF | | ||
| CF | Across the set you hear Blake Lively mutter "Amateurs, darling, we're | ||
| CF | working with amateurs." | ||
| CF | | ||
| CF | "For heaven's sake," says Harry, "this isn't Shakespeare. Just SAY I | ||
| CF | will rid the world of your evil. And try and look like you mean it. I | ||
| CF | want to get out of here before the bar closes." | ||
| CF | | ||
| CF | He raises his megaphone. "OK you lot, back to starting positions. Take | ||
| CF | twenty two. Lights. Camera! Action!" | ||
| CF | | ||
| CF | ...Press any key........ | Jacqueline says, "hee" | |
| Roger says, "hah I like it" | ||
| Knight_Otu says, "Well, well." | ||
| Jacqueline pushes the green 'space' button. | ||
| CF ] The Count's Lair 0/1 | ||
| CF | At last, after so much terror and death, you have tracked the Count to | ||
| CF | his lair in the old forest. So many have fallen. Poor Alexander, | ||
| CF | drowned in the sucking mud of the moors. Geoffrey, falling into that | ||
| CF | unexpected pool of acid. Even Susan is gone - screaming in horror as | ||
| CF | the swinging pendulum chopped her into pieces. You grit your teeth - | ||
| CF | their sacrifices will not have been in vain. | ||
| CF | | ||
| CF | One thing remains. Take your stake and drive it through the very heart | ||
| CF | of the Count. But the hour is late. The undead stir restlessly in | ||
| CF | their dreams of evil. Hurry, before all is lost. | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | The gnarled, twisted trees silhouette against the lowering sky. | ||
| CF | Thunder rumbles over the howl of the wind. In the hollow something | ||
| CF | stirs and rises through the layer of mist that creeps and winds | ||
| CF | amongst the tree trunks and mossy boulders. | ||
| CF | | ||
| CF | It is the Count! With one arm he holds his cloak in front of his face | ||
| CF | and advances towards you, the other taloned hand outstretched. Behind | ||
| CF | him, the Countess, clad in revealing diaphanous white, leers and | ||
| CF | snarls and she is followed by the Count's vampire thralls, their fangs | ||
| CF | bared. | ||
| CF | | ||
| CF | "Now is the time you die, Professor," hisses the Count. "One more soul | ||
| CF | for my army, and then nothing can stop me!" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "say I will rid the world of your evil" | ||
| CF | > | ||
| CF | > SAY I WILL RID THE WORLD OF YOUR EVIL | ||
| CF | | ||
| CF | The Count recoils - a look of hate and fear on his face. "Your threats | ||
| CF | are empty, Professor," he snarls. "My horde will feast on your living | ||
| CF | flesh and my Bride will take your very soul as a plaything." | ||
| CF | | ||
| CF | The Countess, his bride, shrieks with maniacal laughter and the horde | ||
| CF | continue to advance slowly. Slowly enough, perhaps, that you might | ||
| CF | have a chance to end the Count's evil forever! | ||
| CF | | ||
| CF | "Cut!" yells Harry. "That's a wrap for today." There is a brief burst | ||
| CF | of muffled sarcastic clapping from various people on set. Including, | ||
| CF | you notice with indignation, some of the extras, who, given that they | ||
| CF | are paid by the hour, ought to be thanking you. | ||
| CF | | ||
| CF | "Finally, darling," says Blake Lively, removing his cloak. "I thought | ||
| CF | we'd never get that." He turns to Charlotte Day, who plays his Bride. | ||
| CF | "You were marvellous, dear. We are too good for this film and," and | ||
| CF | here he glances at you, "some of the talent we have to work with." | ||
| CF | They link arms and walk towards the exit. | ||
| CF | | ||
| CF | "You!" shouts Harry from his chair, and you know he means you. "Me and | ||
| CF | you need to have a chat with the Boss. He's not gonna be happy that | ||
| CF | I've wasted more than twenty takes of film on your inability to say a | ||
| CF | simple line. Now march yourself over to Arnie's office and we'll see | ||
| CF | what he's got to say." | ||
| CF | | ||
| CF | Ouch. This isn't going to be much fun. | ||
| CF | | ||
| CF | ...Press any key........ | Knight_Otu says, "The stakes aren't as high - or sharp - as they appeared to be, are they." | |
| DavidW pushes the green 'space' button. | ||
| CF ] Outside Dr Horror's Office 0/1 | ||
| CF | Ah, the Boss. Arnie Mallet. Known to everyone as Dr Horror because of | ||
| CF | the many many low budget horror films Mallet Studios churns out year | ||
| CF | after year. You've never met him, but you've heard he's hard as nails | ||
| CF | and that he really really dislikes spending money. At this present | ||
| CF | time, you rate your chances of getting out of this meeting with your | ||
| CF | job and career still intact as vanishingly small. | ||
| CF | | ||
| CF | The one faint hope you have is that they seem to have forgotten about | ||
| CF | you. You've been sitting outside his office for hours. The cleaners | ||
| CF | have come and gone. The lights have gone dim. It must be nearly | ||
| CF | midnight. You've come straight from the set so the only watch you've | ||
| CF | got is a big gold pocketwatch. Given that it's only a prop and doesn't | ||
| CF | have any inner workings, it's not much use. The hands say two thirty. | ||
| CF | But, then again, they're glued in place. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Dr Horror's House of Terror | ||
| CF | A horrifying tale of the restless dead and their world of unspeakable | ||
| CF | evil!!! by Ade | ||
| CF | Release 1 / Serial number 211121 / Inform 7 build 6M62 (I6/v6.33 lib | ||
| CF | 6/12N) | ||
| CF | | ||
| CF | Outside Dr Horror's Office | ||
| CF | The lights of the corridor outside Arnie Mallet's office are dimmed. | ||
| CF | The only furniture is a hard wooden bench against the wall. Opposite | ||
| CF | it, to the north, is the door to the office. The corridor stretches | ||
| CF | into the shadows to the east and west. | ||
| CF | | ||
| CF | It's getting really late. Maybe if you just crept away, Harry might | ||
| CF | forget by tomorrow. Or you could knock on the door. But then again, | ||
| CF | you know that Arnie, famously, really dislikes being disturbed. That | ||
| CF | is, even if he's in there. Which, given that the frosted glass of the | ||
| CF | door is dark, you don't think he is. Or perhaps you should just keep | ||
| CF | waiting. | ||
| CF | | ||
| CF | (If you are new to interactive fiction, try typing | ||
| CF | help to get you started.) | ||
| CF | | ||
| CF | > | MoyTravis says, ""really really dislikes spending money" yea seems about right for somebody turning out tons of third-rate horror movies" | |
| MoyTravis asks, "but that's kind of the charm of it innit?" | ||
| Knight_Otu says, "Probably gets grants for "culturally valuable contributions" or however that works." | ||
| Roger says, "this is surely an allusion/homage to 'Hammer Studios', if one didn't catch that" | ||
| DavidW says (to Roger), "I still don't." | ||
| Jacqueline asks, "So, whaddowewannado?" | ||
| MoyTravis says, "He could be doing the Uwe Boll thing." | ||
| DavidW says, "I don't know a thing about any Hammer Studios." | ||
| DavidW says, "I think we should knock on the door." | ||
| MoyTravis asks, "I think they were British?" | ||
| Roger | Hammer Film Productions Ltd. is a British film production company based in London. Founded in 1934, the company is best known for a series of Gothic horror and fantasy films made from the mid-1950s until the 1970s. Many of these involve classic horror characters such as Baron Victor Frankenstein, Count Dracula, and the Mummy, which Hammer reintroduced to audiences by filming them in vivid colour for the first time.[2] Hammer also produced science fiction, thrillers, film noir and comedies, as well as, in later years, television series. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. | ||
| Roger says, "as we're currently in an infodumpy phase" | ||
| MoyTravis says, "Nice." | ||
| Roger asks, "knock on door?" | ||
| Jacqueline says, "I am down with knocking, yeah" | ||
| DavidW says (to ClubFloyd), "knock on door" | ||
| CF ] Outside Dr Horror's Office 0/2 | ||
| CF | > | ||
| CF | > KNOCK ON DOOR | ||
| CF | | ||
| CF | You hesitantly tap on the glass. No answer. Doesn't seem like anyone | ||
| CF | is in there. | ||
| CF | | ||
| CF | > | MoyTravis says, "Yeah sure." | |
| DavidW says (to ClubFloyd), "open door" | ||
| CF ] Outside Dr Horror's Office 0/3 | ||
| CF | > | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | You hesitate. Perhaps this isn't a good idea. You gingerly try the | ||
| CF | handle and are relieved to find that the door is locked. | ||
| CF | | ||
| CF | > | DavidW asks, "So, we can leave, then. East or west?" | |
| MoyTravis says, "Also, Uwe Boll legit had a thing where he'd make movies that lost money, but Germany would do some sort of funding matching, so he'd make money off losses because of it." | ||
| DavidW says, "Unless the bench is something to search/take/etc." | ||
| Roger says, "I feel like we'll be back here before long, but sure, let us try to creep away" | ||
| Jacqueline says (to ClubFloyd), "x bench" | ||
| CF ] Outside Dr Horror's Office 0/4 | ||
| CF | > | ||
| CF | > X BENCH | ||
| CF | | ||
| CF | It looks like someone found an old park bench and dragged it in. You | ||
| CF | know Arnie Mallet likes to cut costs, but come on. Or maybe it's a | ||
| CF | message to the people waiting outside his office. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x me" | ||
| CF ] Outside Dr Horror's Office 0/5 | ||
| CF | > | ||
| CF | > X ME | ||
| CF | | ||
| CF | After a long day on the set, your stage makeup, thickly applied, is | ||
| CF | all over the place. Your ill-fitting clothes from wardrobe chafe and | ||
| CF | itch in unexpected places, and, to be quite honest, you could do with | ||
| CF | a good lie down and a cup of tea. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "i" | ||
| CF ] Outside Dr Horror's Office 0/6 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a wooden stake. You are wearing a gold pocketwatch, a | ||
| CF | grey suit and a jaunty hat. | ||
| CF | | ||
| CF | > | DavidW asks, "Your hat is jaunty and stylish?" | |
| MoyTravis says, "Let's stab ourself in the heart with the stake." | ||
| Knight_Otu says, "Uwe Boll, that's the guy whose name I was blanking on." | ||
| Jacqueline says (to DW), "yay" | ||
| Jacqueline says (to ClubFloyd), "x hat" | ||
| CF ] Outside Dr Horror's Office 0/7 | ||
| CF | > | ||
| CF | > X HAT | ||
| CF | | ||
| CF | Ever so slightly too small for your head. You dread to think how many | ||
| CF | other heads have worn this prop over the years. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x suit" | ||
| CF ] Outside Dr Horror's Office 0/8 | ||
| CF | > | ||
| CF | > X SUIT | ||
| CF | | ||
| CF | A grey old-fashioned suit over a white shirt. Given that it's all from | ||
| CF | wardrobe, it's deeply uncomfortable to wear, managing to be both too | ||
| CF | tight and too loose in various places at the same time. | ||
| CF | | ||
| CF | > | MoyTravis says, "Unfortunately not as jaunty and stylish as one might hope." | |
| Jacqueline says (to ClubFloyd), "x watch" | ||
| CF ] Outside Dr Horror's Office 0/9 | ||
| CF | > | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This probably used to be a real watch, but now it's just a prop. | ||
| CF | There's no innards and the hands are glued in place at two thirty. It | ||
| CF | is closed. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x stake" | ||
| CF ] Outside Dr Horror's Office 0/10 | ||
| CF | > | ||
| CF | > X STAKE | ||
| CF | | ||
| CF | Basically a stick sharpened at one end. It looks like it might once | ||
| CF | have been a chair leg. You're not completely sure why you're still | ||
| CF | carrying it around. | ||
| CF | | ||
| CF | > | Knight_Otu says, "And it doesn't remind us every turn." | |
| Jacqueline says (to ClubFloyd), "open watch" | ||
| CF ] Outside Dr Horror's Office 0/11 | ||
| CF | > | ||
| CF | > OPEN WATCH | ||
| CF | | ||
| CF | You open the gold pocketwatch. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x watch" | ||
| CF ] Outside Dr Horror's Office 0/12 | ||
| CF | > | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This probably used to be a real watch, but now it's just a prop. | ||
| CF | There's no innards and the hands are glued in place at two thirty. It | ||
| CF | is open. | ||
| CF | | ||
| CF | > | Roger says, "now it's time to... raise the stakes" | |
| MoyTravis says, "ohohoho" | ||
| Jacqueline says (to Roger), "With jokes like that, I'm glad you had kids, dad." | ||
| Jacqueline says, "Wouldn't want you to be a faux pas." | ||
| Roger says, "oww my loins" | ||
| Roger says, "but yeah let's get this show on the road" | ||
| Jacqueline says, "Flip a coin, walk a direction." | ||
| Knight_Otu says, "Or east, first mentioned direction." | ||
| Roger says, "west is best" | ||
| Jacqueline exclaims, "Works for me!" | ||
| DavidW says, "I'd pick the direction that's listed first." | ||
| Roger says, "FINE" | ||
| Jacqueline asks, "West is best? Who are you, Bivotar & Juranda?" | ||
| DavidW says, "Because the author tends to think visiting the rooms in that order." | ||
| MoyTravis says, "Huh." | ||
| Jacqueline says, "Hm. Or maybe that line from the Zork book was, 'Right is right...'" | ||
| MoyTravis says, "Huuuuuuuuh. Clever, that. Though some authors use room listers." | ||
| DavidW says, "well, in my opinion, anyway." | ||
| Jacqueline says, "Deep." | ||
| MoyTravis says, "You've played approximately infinity more of these than I have." | ||
| Jacqueline says, "Sure, let's use psychological profiling of the author to pick which way to go." | ||
| Jacqueline says, "Or discuss it more, we could do that too." | ||
| MoyTravis says, "No, no. Pick something." | ||
| DavidW says, "Anyway, on that basis, I pick east." | ||
| Jacqueline says, "Sure" | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Executive Offices 0/13 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Executive Offices | ||
| CF | The corridor ends here in shadow. The darkened glass of doors in the | ||
| CF | north and south walls reflect you like a pale creeping ghost. The | ||
| CF | corridor brightens to the west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x doors" | ||
| CF ] Executive Offices 0/14 | ||
| CF | > | ||
| CF | > X DOORS | ||
| CF | | ||
| CF | All is dark behind the glass of the doors. | ||
| CF | | ||
| CF | > | Jacqueline says, "..." | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Executive Offices 0/15 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | The doors are firmly locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Executive Offices 0/16 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | Jacqueline asks, "East will maybe be a good choice later?" | |
| DavidW says, "looks like west was the way to go after all" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Outside Dr Horror's Office 0/17 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Outside Dr Horror's Office | ||
| CF | The lights of the corridor outside Arnie Mallet's office are dimmed. | ||
| CF | The only furniture is a hard wooden bench against the wall. Opposite | ||
| CF | it, to the north, is the door to the office. The corridor stretches | ||
| CF | into the shadows to the east and west. | ||
| CF | | ||
| CF | > | Roger says, "I'm tangentially reminded of that vampire movie scene where... David Bowie? waits so long he gets old and dies. Cat People? I dunno anyway" | |
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Top of the Stairs 0/18 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Top of the Stairs | ||
| CF | Here, the lights of the corridor are even dimmer, brightening towards | ||
| CF | the east. Stairs lead downward into stygian darkness. | ||
| CF | | ||
| CF | From far below, you can hear what sounds like muffled voices, but you | ||
| CF | can't make out any words. | ||
| CF | | ||
| CF | > | Knight_Otu says, "For a place we were told to go to, this is awfully deserted." | |
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Dark Stairwell 0/19 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | Dark Stairwell | ||
| CF | It is very dark. Above you, a faint light shines through the entrance | ||
| CF | to the stairs. Set into the east wall is a door, and the stairs | ||
| CF | continue down into darkness. No. Not darkness. A faint glimmer of | ||
| CF | green light shines through the gloom from far below. | ||
| CF | | ||
| CF | The voices are louder now. You can almost make out the words - but | ||
| CF | they are not in any language you know! | ||
| CF | | ||
| CF | > | Knight_Otu says, "And as soon as I say that..." | |
| DavidW says (to ClubFloyd), "listen" | ||
| CF ] Dark Stairwell 0/20 | ||
| CF | > | ||
| CF | > LISTEN | ||
| CF | | ||
| CF | The words and phrases wind around you horribly. They build to a | ||
| CF | crescendo then die away again. This is no language you have ever | ||
| CF | heard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] Dark Stairwell 0/21 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | Just a blank faced door on the east wall. It is closed. | ||
| CF | | ||
| CF | > | Roger says, "(It's Spanish)" | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Dark Stairwell 0/22 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | The door is firmly locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x green light" | ||
| CF ] Dark Stairwell 0/23 | ||
| CF | > | ||
| CF | > X GREEN LIGHT | ||
| CF | | ||
| CF | The light seems to flicker and pulsate unpleasantly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Dank Cavern 0/24 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | You slowly creep down the stairs. They seem to go on forever. As you | ||
| CF | approach the pulsing green light, the chanting grows louder and louder | ||
| CF | - echoing from the narrow walls of the stairwell. | ||
| CF | | ||
| CF | Dank Cavern | ||
| CF | The stairwell from above opens into a large rocky cavern, lit by a | ||
| CF | horribly organic green light that seems to emanate from a dip in the | ||
| CF | cave's floor to the east. Stalactites drip from the ceiling and | ||
| CF | eldritch things chitter and move amongst them, just out of sight. | ||
| CF | | ||
| CF | The sound of chanting is almost unbearable now! It seems to be drawing | ||
| CF | you in - the words curling horribly through air that feels almost | ||
| CF | viscous. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Not in any language we know? What are the chances? Pretty good, actually, there are more we don't know than ones we do." | |
| DavidW asks, "Is the other way to go east?" | ||
| DavidW says (to ClubFloyd), "exits" | ||
| CF ] Dank Cavern 0/24 | ||
| CF | > | ||
| CF | > EXITS | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | MoyTravis says, "Me, listening to a pair of diners conversing in French: "This is language...but not any language that I know!"" | |
| DavidW says, "er only way" | ||
| Knight_Otu says, "Seems so." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Above the Temple 0/25 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You creep to the edge of the dip in the floor, your heart pounding in | ||
| CF | your chest. | ||
| CF | | ||
| CF | Above the Temple | ||
| CF | The cavern continues to the west and below you, to the east, the floor | ||
| CF | ramps down to a large open space. It seems to be a Temple of some | ||
| CF | sort. A circle of standing stones surrounds serried ranks of benches | ||
| CF | and at the far end, an altar pulses with a hideous green light. | ||
| CF | | ||
| CF | The benches are full. A crowd of people, all in hooded robes of deep | ||
| CF | crimson, sit at them. It is from these robed figures that the chanting | ||
| CF | is emanating as they sway in time to the rhythms of the chant. Just in | ||
| CF | front of the altar a single figure stands, its red robe resplendent | ||
| CF | with a trim of gold, face hidden behind its hood, hands raised. In one | ||
| CF | hand it holds a knife - wicked and curved. | ||
| CF | | ||
| CF | Suddenly, the figure at the front throws up its arms. The chanting | ||
| CF | stops immediately and the crowd lean forward as one as if in | ||
| CF | anticipation. Slowly, the lone figure pushes back its hood. You start | ||
| CF | with shock. It's Dr Horror himself! Arnie Mallet. The Head of the | ||
| CF | Studio. No! Arnie throws his head back and cackles maniacally. The | ||
| CF | crowd sigh and whisper. | ||
| CF | | ||
| CF | "Brethren," says Arnie, "the Ritual is complete. Tonight, we summon | ||
| CF | Astaroth and all the minions of hell!" The crowd cheer. "And yet," | ||
| CF | continues Arnie, his voice lowering, "there is one more task for us to | ||
| CF | complete. The Sacrifice!" The crowd gives a pleasurable collective | ||
| CF | groan. Arnie waves his knife. "Even now," he says, "the sacrificial | ||
| CF | body is waiting outside my office. Brother Higginbotham, will you do | ||
| CF | us the honor of bringing the lamb to the altar." | ||
| CF | | ||
| CF | "I will, Arch-vector," says one of the congregation members, getting | ||
| CF | to its feet. Wait. That's a voice you recognize. It's Harry, your | ||
| CF | Director! The shit. Harry scurries up the ramp. Oh no! Fortunately you | ||
| CF | are well hidden in the shadows and he runs straight past you and up | ||
| CF | the stairs. | ||
| CF | | ||
| CF | > | MoyTravis says, "Yeah they really should have sent an escort along with us." | |
| MoyTravis says, "Obvious in hindsight." | ||
| Jacqueline says, "We fell asleep on the bench, and this is a dream." | ||
| Knight_Otu asks, "They're new at this cult thing, aren't they?" | ||
| Roger says, "It seems like we play a lot of games involving sacrificial rituals" | ||
| Knight_Otu is suddenly glad to be separated by the internet. | ||
| MoyTravis asks, "Pfft what kinda ritual you gonna have WITHOUT a sacrifice?" | ||
| DavidW says, "Anyway, Director Wigglebottom will soon find that we're not where we should be." | ||
| Roger says, "Getting to its feet? Odd choice" | ||
| MoyTravis asks, "How you gonna get anything if you don't give anything, huh?" | ||
| Jacqueline says, "Okay, maybe not a dream." | ||
| DavidW asks, "Where do we go?" | ||
| Roger says, "I feel like we should try hiding out here for a while" | ||
| Jacqueline says, "Yeah." | ||
| MoyTravis asks, "z or hide?" | ||
| Jacqueline says, "I agree on the hiding." | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Above the Temple 0/26 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | There's nothing you really need to hide from. | ||
| CF | | ||
| CF | While they are waiting for Harry, the crowd below you seem a little | ||
| CF | unsure of what to do. There is a kind of awkward silence. Arnie, at | ||
| CF | the front, coughs. "Shouldn't be long," he says. "I'm sure Brother | ||
| CF | Higginbotham will be back momentarily." As the minutes tick by, there | ||
| CF | is a rash of murmuring across the congregation and heads begin to turn | ||
| CF | towards the stairwell - you shrink back further into the shadows. | ||
| CF | Arnie looks irritated. "Well," he begins, "perhaps someone could....." | ||
| CF | | ||
| CF | Then all at once Harry rushes out of the stairwell, and straight past | ||
| CF | you - almost within touching distance, his face red and flustered. | ||
| CF | "There's no-one there," he shouts. "I can't find them anywhere." The | ||
| CF | crowd's heads snap back towards Arnie who rolls his eyes to the | ||
| CF | ceiling. | ||
| CF | | ||
| CF | Arnie seems to be struggling to control himself. "So," he says, | ||
| CF | eventually, "you're telling me we don't have a sacrifice." | ||
| CF | | ||
| CF | > | Jacqueline says, "I think there is something to hide from." | |
| MoyTravis asks, "z more?" | ||
| DavidW says, "Maybe they'll sacrifice Arnie and we can go home." | ||
| Knight_Otu says, "So we would think. The game has a different opinion." | ||
| MoyTravis says, "I think we're in a cutscene." | ||
| DavidW says (to ClubFloyd), "x arnie" | ||
| CF ] Above the Temple 0/27 | ||
| CF | > | ||
| CF | > X ARNIE | ||
| CF | | ||
| CF | With his hood thrown back, the cruel face of Arnie Mallet transfixes | ||
| CF | the crowd. He is resplendent in his red robes trimmed with gold. | ||
| CF | | ||
| CF | "They can't have gone far," says Harry, defensively. "The Studio is | ||
| CF | locked up as tight as your purse strings, Arnie." | ||
| CF | | ||
| CF | "You think this is a joke," yells Arnie, "You'd better find us a | ||
| CF | sacrifice, Harry, or you'll be going on the block. And that's | ||
| CF | Arch-vector to you." | ||
| CF | | ||
| CF | "No need for that," replies Harry, blanching, "Don't worry. We'll sort | ||
| CF | it out. I'm sure between us, all the brethren can find them." | ||
| CF | | ||
| CF | "Yes," says Arnie, "we'd better. All of you lot get out there and | ||
| CF | start looking. We need this done and dusted by midnight. Astaroth | ||
| CF | won't be best pleased if we keep him waiting. Find the Sacrifice and | ||
| CF | then we will rule this world and the next!" He breaks into his crazy | ||
| CF | laughter once more but his heart doesn't seem quite in it and he | ||
| CF | quickly stops. He sighs heavily. "Come on then, let's get on with it. | ||
| CF | Find our sacrifice." | ||
| CF | | ||
| CF | The congregation stands and moves up the ramp towards the stairwell. | ||
| CF | | ||
| CF | Oh no! This could spell trouble. You're in peril! | ||
| CF | | ||
| CF | (There's only a few things to do in a perilous situation like | ||
| CF | this. You could try and HIDE, or perhaps RUN | ||
| CF | AWAY. Or maybe, if you're feeling brave, you could try and | ||
| CF | ATTACK. Well, there's too many to attack and nowhere | ||
| CF | to run, so you'd better try to HIDE. Quick!) | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] Above the Temple 1/28 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You crouch deeper into the shadows behind a fortuitous little rocky | ||
| CF | outcrop on the cavern floor. Surely they must see you! The | ||
| CF | congregation run up the ramp to the stairs, closely followed by Arnie. | ||
| CF | The last thing you hear as they disappear up the stairwell is Arnie's | ||
| CF | voice. "Go, Astaroth's flock," he yells, his voice disappearing into | ||
| CF | the distance "Find our sacrifice for glory and power!" | ||
| CF | | ||
| CF | Well, that was a close call. Looks like you are safe. For now! | ||
| CF | | ||
| CF | You have survived a perilous situation! Try typing | ||
| CF | SCORE to keep track. | ||
| CF | | ||
| CF | > | MoyTravis says, "Some slight jank but yeah, hide." | |
| Roger says, "That's more awkward than it needed to be" | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] Above the Temple 1/28 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You have survived one perilous situation! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | | ||
| CF | > | MoyTravis says, "It's fine parser is perpetually awkward as a form." | |
| DavidW asks, "I'm not sure what to do next. Just wait?" | ||
| MoyTravis says, "So...is EVERYBODY gone, or. Like." | ||
| MoyTravis asks, "Look around?" | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] Above the Temple 1/29 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | Above the Temple | ||
| CF | The cavern continues to the west and below you, to the east, the floor | ||
| CF | ramps down to a large open space. It seems to be a Temple of some | ||
| CF | sort. A circle of standing stones surrounds serried ranks of benches | ||
| CF | and at the far end, an altar pulses with a hideous green light. | ||
| CF | | ||
| CF | The benches are empty, the temple quiet. | ||
| CF | | ||
| CF | > | DavidW says, "oh, so we could go down." | |
| Knight_Otu says, "It sounded like... yeah, everyone's gone searching." | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Temple of Astaroth 1/30 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | Temple of Astaroth | ||
| CF | In the body of the Temple, in the aisle between the ranks of benches, | ||
| CF | all is quiet. The cavern ramps up to the west towards the bottom of | ||
| CF | the stairs. Looming around you are thirteen great black stones and at | ||
| CF | the heart of the Temple is the balefully glowing altar that fills the | ||
| CF | place with its pulsing green light. | ||
| CF | | ||
| CF | > | MoyTravis says, "lie on altar" | |
| MoyTravis says, "stab self with stake" | ||
| MoyTravis says, "obtain ultimate cosmic power, hopefully" | ||
| DavidW asks, "Is it okay if I examine the altar first?" | ||
| Roger says, "green, universal colour of evil" | ||
| DavidW says (to ClubFloyd), "x altar" | ||
| CF ] Temple of Astaroth 1/31 | ||
| CF | > | ||
| CF | > X ALTAR | ||
| CF | | ||
| CF | The square black bulk of the altar glows evilly, emitting a pulsing | ||
| CF | green light. Along its side is some kind of lettering, but it's no | ||
| CF | language that you have ever seen before. | ||
| CF | | ||
| CF | > | MoyTravis says, "I mean, you're driving, I'm just peanut gallerying over here." | |
| DavidW says (to ClubFloyd), "x benches" | ||
| CF ] Temple of Astaroth 1/32 | ||
| CF | > | ||
| CF | > X BENCHES | ||
| CF | | ||
| CF | On closer inspection, these have definitely been sourced from some | ||
| CF | sort of church yard sale. They were probably cheap. | ||
| CF | | ||
| CF | > | MoyTravis says, "Do as ya like." | |
| DavidW says (to ClubFloyd), "x stones" | ||
| CF ] Temple of Astaroth 1/33 | ||
| CF | > | ||
| CF | > X STONES | ||
| CF | | ||
| CF | The forbidding stones look like they've been here since the dawn of | ||
| CF | time. It is as though they are waiting for something. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push stones" | ||
| CF ] Temple of Astaroth 1/34 | ||
| CF | > | ||
| CF | > PUSH STONES | ||
| CF | | ||
| CF | The smooth surface of the stone defeats your efforts. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read altar" | ||
| CF ] Temple of Astaroth 1/35 | ||
| CF | > | ||
| CF | > READ ALTAR | ||
| CF | | ||
| CF | You're not going to go anywhere near that thing! | ||
| CF | | ||
| CF | > | Knight_Otu says, "No self-sacrifice for us, it sounds like." | |
| DavidW says, "Looks like lying on it is not a thing we want to do." | ||
| DavidW says, "Sorry gang." | ||
| MoyTravis says, "Unfortunate, but understandable." | ||
| Roger says, "and now the hunted has become the hunter" | ||
| DavidW says, "Maybe we'll get radioactive altar powers in another game." | ||
| DavidW says (to ClubFloyd), "x ramp" | ||
| CF ] Temple of Astaroth 1/35 | ||
| CF | > | ||
| CF | > X RAMP | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under benches" | ||
| CF ] Temple of Astaroth 1/36 | ||
| CF | > | ||
| CF | > LOOK UNDER BENCHES | ||
| CF | | ||
| CF | They look soaked in evil. You don't want to go anywhere near them! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Did I say going in that the stakes aren't as high - or sharp - as they seemed? That hasn't aged well." | |
| DavidW says (to ClubFloyd), "l" | ||
| CF ] Temple of Astaroth 1/37 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Temple of Astaroth | ||
| CF | In the body of the Temple, in the aisle between the ranks of benches, | ||
| CF | all is quiet. The cavern ramps up to the west towards the bottom of | ||
| CF | the stairs. Looming around you are thirteen great black stones and at | ||
| CF | the heart of the Temple is the balefully glowing altar that fills the | ||
| CF | place with its pulsing green light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Temple of Astaroth 1/38 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Temple of Astaroth 1/39 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Temple of Astaroth 1/40 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb stones" | ||
| CF ] Temple of Astaroth 1/41 | ||
| CF | > | ||
| CF | > CLIMB STONES | ||
| CF | | ||
| CF | The smooth surface of the stone defeats your efforts. | ||
| CF | | ||
| CF | > | Roger says, "'in the body of the temple' is an odd turn of phrase, but one I've heard before" | |
| DavidW says, "I'm not sure what to do here. It seems we have to go back the way we came." | ||
| Roger says, "seems likely" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Above the Temple 1/42 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Above the Temple | ||
| CF | The cavern continues to the west and below you, to the east, the floor | ||
| CF | ramps down to a large open space. It seems to be a Temple of some | ||
| CF | sort. A circle of standing stones surrounds serried ranks of benches | ||
| CF | and at the far end, an altar pulses with a hideous green light. | ||
| CF | | ||
| CF | The benches are empty, the temple quiet. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Above the Temple 1/43 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Dank Cavern 1/44 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Dank Cavern | ||
| CF | The stairwell from above opens into a large rocky cavern, lit by a | ||
| CF | horribly organic green light that seems to emanate from a dip in the | ||
| CF | cave's floor to the east. Stalactites drip from the ceiling and | ||
| CF | eldritch things chitter and move amongst them, just out of sight. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "I guess we're supposed to get rid of cultists until we can flee?" | |
| DavidW says (to ClubFloyd), "x stalactites" | ||
| CF ] Dank Cavern 1/45 | ||
| CF | > | ||
| CF | > X STALACTITES | ||
| CF | | ||
| CF | The stalactites hang like white worms from the ceiling. The green | ||
| CF | light makes them glow unpleasantly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Dark Stairwell 1/46 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Dark Stairwell | ||
| CF | It is very dark. Above you, a faint light shines through the entrance | ||
| CF | to the stairs. Set into the east wall is a door, and the stairs | ||
| CF | continue down into darkness. No. Not darkness. A faint glimmer of | ||
| CF | green light shines through the gloom from far below. | ||
| CF | | ||
| CF | From above, you can hear bad-tempered voices and stamping feet. | ||
| CF | | ||
| CF | The door to the east is slightly ajar! It lets in a sliver of welcome | ||
| CF | white light through the gap. | ||
| CF | | ||
| CF | > | MoyTravis says, "We're in a sneaking mission I guess." | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Entrance vestibule 2/47 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You creep through the doorway into the welcoming lights of the | ||
| CF | entrance vestibule of the building. The door swings closed behind you | ||
| CF | and you hear the lock click into place. Well - at least they won't be | ||
| CF | following you through there! | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is a closed smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | This is where you had arrived when you auditioned for the part of the | ||
| CF | Professor in "The Revenge of the Bride of the Vampire". It had seemed | ||
| CF | so exciting then - the bustle of the studios, the faces welcoming. You | ||
| CF | never thought your first big film role would end up like this! | ||
| CF | | ||
| CF | It's really starting to dawn on you. With a sense of mounting dread, | ||
| CF | you realise you need to stop the Cult before they summon the | ||
| CF | end-times, or whatever it is they're up to! Or escape and get someone | ||
| CF | else to stop them. Preferably both. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "This is definitely set in, like, the 70s or something. Before cell phones at least." | |
| Knight_Otu says, "Sneak, run, attack, as the situation demands, I guess." | ||
| DavidW says (to ClubFloyd), "x keypad" | ||
| CF ] Entrance vestibule 2/48 | ||
| CF | > | ||
| CF | > X KEYPAD | ||
| CF | | ||
| CF | The keypad has the numbers 0 to 9 in a small square. At the top shines | ||
| CF | a small red light. You could, perhaps, ENTER a code. If you knew what | ||
| CF | it was. Which you don't. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x north door" | ||
| CF ] Entrance vestibule 2/48 | ||
| CF | > | ||
| CF | > X NORTH DOOR | ||
| CF | | ||
| CF | I only understood you as far as wanting to examine north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] Entrance vestibule 2/48 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | Which do you mean, the stairwell door, the exterior glass doors, the | ||
| CF | interior glass doors or the smaller door? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x exterior" | ||
| CF ] Entrance vestibule 2/49 | ||
| CF | > | ||
| CF | > X EXTERIOR | ||
| CF | | ||
| CF | The large frosted glass doors lead out into the main studio lot. They | ||
| CF | are closed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open exterior" | ||
| CF ] Entrance vestibule 2/50 | ||
| CF | > | ||
| CF | > OPEN EXTERIOR | ||
| CF | | ||
| CF | You open the exterior glass doors. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "out" | ||
| CF ] Entrance vestibule 2/51 | ||
| CF | > | ||
| CF | > OUT | ||
| CF | | ||
| CF | But you aren't in anything at the moment. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot North 2/52 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the closed Studio 2 door. On each | ||
| CF | door, a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | You emerge from the Studio offices into the night air, but something | ||
| CF | is wrong. It doesn't feel right. There's an oppressiveness about the | ||
| CF | sky. Pendulous clouds hang above you, eerily lit by a reddening moon. | ||
| CF | In the distance, you are sure you can hear the low rumblings of | ||
| CF | nascent thunder. A low mist is creeping across the ground. | ||
| CF | | ||
| CF | It feels like a night for dark deeds - where evil lurks in the | ||
| CF | shadows - a night for Dr Horror! | ||
| CF | | ||
| CF | > | Roger says, "hmmm this game doesn't quite nail its tone, but I'm still trying to figure out how." | |
| DavidW says (to ClubFloyd), "x studio 1" | ||
| CF ] Studio Lot North 2/52 | ||
| CF | > | ||
| CF | > X STUDIO 1 | ||
| CF | | ||
| CF | Which do you mean, Studio 1 door or Studio 1 sign? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sign" | ||
| CF ] Studio Lot North 2/53 | ||
| CF | > | ||
| CF | > SIGN | ||
| CF | | ||
| CF | The sign reads "Blood of the Werewolf's Claw" and then, in slightly | ||
| CF | smaller letters, "Dir: Benny Tibbings". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 2" | ||
| CF ] Studio Lot North 2/54 | ||
| CF | > | ||
| CF | > X SIGN 2 | ||
| CF | | ||
| CF | The sign reads "The Things That Could Never Die!" and then, "Dir: | ||
| CF | Herbert Blom". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Lot North 2/55 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | (first opening Studio 1 door) | ||
| CF | It seems to be locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot North 2/56 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening Studio 2 door) | ||
| CF | It seems to be locked. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Lot South 2/57 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Oh no! As you walk through the lot, out of the shadows springs a | ||
| CF | crazed Cultist. His eyes gleam with a mad light in a face that is | ||
| CF | strained in a rictus of madness! | ||
| CF | | ||
| CF | "I have found you," he yells in a hoarse voice. "Now you will be | ||
| CF | sacrificed for the glory of Astaroth!" | ||
| CF | | ||
| CF | He moves towards you slowly, his arms wide, ready to enclose you in a | ||
| CF | grasping embrace. | ||
| CF | | ||
| CF | You are in a perilous situation. | ||
| CF | | ||
| CF | The crazed cultist advances on you! | ||
| CF | | ||
| CF | > | Roger exclaims, "stake him! stake him now!!" | |
| MoyTravis says, "Deffo before cell phones. Which means we murder him." | ||
| DavidW says (to ClubFloyd), "kill cultist with stake" | ||
| CF ] Studio Lot South 3/58 | ||
| CF | > | ||
| CF | > KILL CULTIST WITH STAKE | ||
| CF | | ||
| CF | You brandish the wooden stake at the Cultist, but he just throws back | ||
| CF | his head and laughs. "I don't fear your weapons," he spits and | ||
| CF | launches himself at you. You grapple, your arms locked together. He | ||
| CF | tries to wrest the stake away from you, but you hold onto it tightly. | ||
| CF | | ||
| CF | Back and forth you tussle. His strength seems to be demonic! The stake | ||
| CF | is only inches away from your eyes and he presses ever more strongly. | ||
| CF | But then an opening. You take a step back and he trips over his long | ||
| CF | robe. You both go down in a heap, and when you recover your senses you | ||
| CF | realise that the Cultist has fallen onto the sharp wooden stake | ||
| CF | impaling his heart! | ||
| CF | | ||
| CF | You push the limp body off you and stand. The wooden stake is gone, | ||
| CF | buried deep in the breast of the cultist. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "We are not good at murder, it seems." | |
| Knight_Otu says, "The absence of cell phones means it's okay to murder? Onedoes learn something new each day." | ||
| DavidW says (to ClubFloyd), "sign 3" | ||
| CF ] Studio Lot South 3/58 | ||
| CF | > | ||
| CF | > SIGN 3 | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 3" | ||
| CF ] Studio Lot South 3/59 | ||
| CF | > | ||
| CF | > X SIGN 3 | ||
| CF | | ||
| CF | The title, "The Curse of the Mummy of Death", the director, "Susan | ||
| CF | McDougal". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 4" | ||
| CF ] Studio Lot South 3/60 | ||
| CF | > | ||
| CF | > X SIGN 4 | ||
| CF | | ||
| CF | "The Vengeance of the Monster" and, under the title, "Dir: Cecil | ||
| CF | DeCrancy". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sign 5" | ||
| CF ] Studio Lot South 3/61 | ||
| CF | > | ||
| CF | > X SIGN 5 | ||
| CF | | ||
| CF | The sign reads: "The Revenge of the Bride of the Vampire" and, "Dir. | ||
| CF | Harry Higginbotham". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 3/62 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | (first opening Studio 5 door) | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | You've spent too much time in this room, trying to make desultory | ||
| CF | conversation with other actors and extras. Not Blake or Charlotte | ||
| CF | though, oh no! They're the stars. They seemed to have their own | ||
| CF | private rest areas and never deigned to spend time with other, lesser | ||
| CF | actors. | ||
| CF | | ||
| CF | Occasionally, someone would be invited into their quarters for drinks | ||
| CF | and nibbles - but not you. Not that you're bitter. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | Roger says, "games, stakes are not one-use items" | |
| Knight_Otu says, "One use antimatter stakes, or however TvTropes calls those." | ||
| Roger says, "although I guess if the game keeps feeding us a steady supply of interesting new weapons for gruesome new deaths, I could be down with that" | ||
| Knight_Otu says, "I guess we need.... right." | ||
| MoyTravis says, "Seems likely." | ||
| DavidW says (to ClubFloyd), "x counter" | ||
| CF ] Studio Waiting Room 3/63 | ||
| CF | > | ||
| CF | > X COUNTER | ||
| CF | | ||
| CF | It's a plain worktop, really. Not much to be done with it. | ||
| CF | | ||
| CF | Your tea caddy sits on top of the counter. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x caddy" | ||
| CF ] Studio Waiting Room 3/64 | ||
| CF | > | ||
| CF | > X CADDY | ||
| CF | | ||
| CF | It's red and green, with pictures of elephants on the side. It is | ||
| CF | closed. It's also stuck tight! You're going to need someone really | ||
| CF | strong to help you get this open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take caddy" | ||
| CF ] Studio Waiting Room 3/65 | ||
| CF | > | ||
| CF | > TAKE CADDY | ||
| CF | | ||
| CF | You pick up the caddy and notice it rattle slightly. | ||
| CF | | ||
| CF | > | DavidW asks, "East or west?" | |
| MoyTravis says, "Well east was mentioned first." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Lot South 3/66 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | A cleared space in the centre of the room is covered with a stained | ||
| CF | persian rug. | ||
| CF | | ||
| CF | A security guard walks in through the door to the south. He sees you | ||
| CF | immediately. "Hey," he calls. "You're not supposed to be in here!" He | ||
| CF | chuckles good naturedly and grabs you by the arm. "Come on, you, it's | ||
| CF | more than my jobs worth to let people wander around in here at night. | ||
| CF | It's dangerous." | ||
| CF | | ||
| CF | You struggle feebly, but it's no use. The Guard shuffles you outside | ||
| CF | the studio. "You actors," he chuckles. "Always getting into trouble." | ||
| CF | He gives you a final wave before disappearing back into the Studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | Knight_Otu says, "And has no footsteps..." | |
| Knight_Otu says, "But a guard. Huh." | ||
| MoyTravis says, "Who doesn't notice the dead cultist lying out on the lot." | ||
| MoyTravis says, "Guards these days." | ||
| Knight_Otu says, "Outside the vision cone, of course." | ||
| Roger says, "he might yet freak out" | ||
| DavidW says, "I wanted to move that rug and find the trapdoor." | ||
| MoyTravis says, "You can probably follow him around his circuit." | ||
| MoyTravis asks, "With the footsteps?" | ||
| Roger asks, "show body to guard ?" | ||
| DavidW says, "I'm gonna find some pills and find that guard's coffee and introduce them to each other." | ||
| MoyTravis asks, "Go back in?" | ||
| Roger says, "we are apprehended" | ||
| DavidW says, "yes. And west this time" | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 3/67 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Vampire's Dungeon 3/68 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | The Vampire's Dungeon | ||
| CF | Painted-on slime drips from the faux stone walls, glowing vaguely | ||
| CF | fluorescent under the dim lights. Dark doorways lead to the east and | ||
| CF | south deeper into the Studio. Nylon cobwebs thickly cover the upper | ||
| CF | corners of the room and various torture equipment surrounds the set's | ||
| CF | centrepiece, an enormous shining pendulum axe | ||
| CF | | ||
| CF | The axe looks really sharp. You're glad you weren't the actor that had | ||
| CF | to lie under that take after take! Poor Melissa. It must have been | ||
| CF | terrifying. Her character, Susan, the Professor's beautiful and | ||
| CF | intelligent assistant had met her end here, tied onto the floor by the | ||
| CF | Count while the Countess laughed maniacally as she'd pulled the | ||
| CF | release handle. | ||
| CF | | ||
| CF | You'd got on well with Melissa. It was a shame about her mother | ||
| CF | falling ill, so she'd had to leave the set straight after this last | ||
| CF | scene. | ||
| CF | | ||
| CF | The axe hangs, sharp and forbidding, straight down from the centre of | ||
| CF | the room. The slot on the ceiling into which it can be pushed, is | ||
| CF | empty. | ||
| CF | | ||
| CF | On the north wall, half hidden in shadow, is the axe release handle. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | Roger says, "oh guess not" | |
| MoyTravis says, "He just kicked us out he didn't actually, like, arrest us." | ||
| Roger says, "alright I can get behind this conceit and gameplay, if not necessarily the fine details of execution" | ||
| MoyTravis says, "Yeah, she "left the scene to go care for her ailing mother" right, sure." | ||
| Knight_Otu asks, "Man, we've been pretty gullible, haven't we?" | ||
| Roger asks, "have we?" | ||
| Knight_Otu says, "Melissa's probably dead." | ||
| MoyTravis says, "She's super dead." | ||
| DavidW says (to ClubFloyd), "x handle" | ||
| CF ] The Vampire's Dungeon 3/69 | ||
| CF | > | ||
| CF | > X HANDLE | ||
| CF | | ||
| CF | The handle is a simple wooden lever that, when pulled, releases the | ||
| CF | axe. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take axe" | ||
| CF ] The Vampire's Dungeon 3/70 | ||
| CF | > | ||
| CF | > TAKE AXE | ||
| CF | | ||
| CF | The axe is firmly attached to the ceiling. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push axe" | ||
| CF ] The Vampire's Dungeon 3/71 | ||
| CF | > | ||
| CF | > PUSH AXE | ||
| CF | | ||
| CF | With difficulty, you push the axe into its slot in the ceiling, where | ||
| CF | something clicks and the axe is held in place, ready to fall. | ||
| CF | | ||
| CF | > | MoyTravis says, "oh no" | |
| Roger says, "really saves on the sfx budget" | ||
| DavidW says (to ClubFloyd), "s" | Jacqueline says, "eep" | |
| CF ] The Count's Lair 3/72 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | Twisted trees made from plywood grow unconvincingly out from plastic | ||
| CF | grass matting. Dotted amongst them, foam rubber boulders are speckled | ||
| CF | with green cotton wool that, in the low light, does look a little bit | ||
| CF | like moss if you squint your eyes. Dark doorways lead north and south | ||
| CF | and the set continues into the gloom to the east. | ||
| CF | | ||
| CF | Unbelievably it was only a few hours ago you were here with the | ||
| CF | cameras rolling, take after take. How much terror has happened since | ||
| CF | then! If only you could go back in time and get that line right first | ||
| CF | time. You wouldn't be here now! I will rid the world of your evil. It | ||
| CF | shouldn't have been that hard! You're a trained actor for heaven's | ||
| CF | sake. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x boulders" | ||
| CF ] The Count's Lair 3/73 | ||
| CF | > | ||
| CF | > X BOULDERS | ||
| CF | | ||
| CF | The boulders have been carved out of foam rubber and spray painted | ||
| CF | grey. | ||
| CF | | ||
| CF | You can hear footsteps to the north. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation!! | ||
| CF | | ||
| CF | > | Roger asks, "oh did we do anything useful to the cultist body like search it or steal the robes or anything?" | |
| MoyTravis asks, "Huh if the set continues to the east where does the door to the south go?" | ||
| Knight_Otu says, "I'm sure they'd have found another excuse to have us sacrificed." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Production Area 3/74 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Production Area | ||
| CF | Behind the set, a mess of wires trail across the floor, connecting | ||
| CF | haphazardly to cameras, microphone arrays and lighting rigs. Dark | ||
| CF | doorways lead north and south into the Studio. | ||
| CF | | ||
| CF | The Director's chair sits in front of the two cameras, facing the set, | ||
| CF | which continues to the west. | ||
| CF | | ||
| CF | > | MoyTravis says, "No, we didn't...we should definitely search the body when we get back there yeah." | |
| DavidW says (to ClubFloyd), "x wires" | ||
| CF ] Production Area 3/75 | ||
| CF | > | ||
| CF | > X WIRES | ||
| CF | | ||
| CF | The tangle of multi-colored wires is draped all over the floor and up | ||
| CF | the walls, attached to all the bits of film making stuff in the room | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x chair" | ||
| CF ] Production Area 3/76 | ||
| CF | > | ||
| CF | > X CHAIR | ||
| CF | | ||
| CF | It has the word "Director" written across the back in white lettering. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "Sit in the director's chair and when the guard comes by yell at him that you're the director and he should leave you alone." | |
| Roger says, "oh man, there's film-making stuff" | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Store 3/77 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | A cleared space in the centre of the room is covered with a stained | ||
| CF | persian rug. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "move rug" | ||
| CF ] Studio Lot South 3/78 | ||
| CF | > | ||
| CF | > MOVE RUG | ||
| CF | | ||
| CF | You manage to roll up the rug, revealing a closed trapdoor in the | ||
| CF | floor! | ||
| CF | | ||
| CF | A security guard walks in through the door to the south. He notices | ||
| CF | you straight away. "You again!" he says with a grin and a shake of his | ||
| CF | head. "You're persistent, I'll give you that!" | ||
| CF | | ||
| CF | He grabs your arm and before you know it, despite your struggles, | ||
| CF | you're outside the Studio once again. "See you," smiles the Guard and | ||
| CF | disappears back into the Studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Can we hide or something or do we just have to exit to the lot and let the guard pass to get time to search?" | |
| DavidW says (to ClubFloyd), "search cultist" | ||
| CF ] Studio Lot South 3/79 | ||
| CF | > | ||
| CF | > SEARCH CULTIST | ||
| CF | | ||
| CF | The cultist sprawls, limbs splayed, on the ground. He wears a blood | ||
| CF | stained crimson robe. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x robe" | ||
| CF ] Studio Lot South 3/80 | ||
| CF | > | ||
| CF | > X ROBE | ||
| CF | | ||
| CF | The robes, deep crimson, at least partially hide the darker patch | ||
| CF | around the hole in the chest area. | ||
| CF | | ||
| CF | > | MoyTravis says, "Strip him." | |
| DavidW says (to ClubFloyd), "take robe" | ||
| CF ] Studio Lot South 3/81 | ||
| CF | > | ||
| CF | > TAKE ROBE | ||
| CF | | ||
| CF | You reluctantly peel the crimson robe away from the body. It has a | ||
| CF | dark stain and a ragged hole at the breast, but at least it looks like | ||
| CF | it might fit. | ||
| CF | | ||
| CF | > | Roger says, "and we just found a sewing machine, yay" | |
| MoyTravis says, "Oh, nice." | ||
| MoyTravis says, "If we can time it." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Studio Waiting Room 3/82 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the west. They seem to be slowly receding | ||
| CF | into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Studio Store 3/83 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to a closed trapdoor in the floor. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sew robe" | ||
| CF ] Studio Store 3/84 | ||
| CF | > | ||
| CF | > SEW ROBE | ||
| CF | | ||
| CF | For the life of you, you can't work out how to use the sewing machine. | ||
| CF | It looks like it came out of the 1800"s. | ||
| CF | | ||
| CF | > | Roger says, "oh come on game" | |
| DavidW says (to ClubFloyd), "open trapdoor" | ||
| CF ] Studio Store 3/85 | ||
| CF | > | ||
| CF | > OPEN TRAPDOOR | ||
| CF | | ||
| CF | The trapdoor opens with a creak, revealing a square of forbidding | ||
| CF | darkness! | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Darnit." | |
| DavidW says (to ClubFloyd), "move rug" | ||
| CF ] Studio Lot South 3/86 | ||
| CF | > | ||
| CF | > MOVE RUG | ||
| CF | | ||
| CF | But the open trapdoor is in the way. | ||
| CF | | ||
| CF | A security guard walks in through the door to the south. He notices | ||
| CF | you straight away. "You again!" he says with a grin and a shake of his | ||
| CF | head. "You're persistent, I'll give you that!" | ||
| CF | | ||
| CF | He grabs your arm and before you know it, despite your struggles, | ||
| CF | you're outside the Studio once again. "See you," smiles the Guard and | ||
| CF | disappears back into the Studio. | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Quick into the mysterious trapdoor!" | |
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Studio Store 3/85 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Studio Store | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Studio Crypt 3/86 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | You nervously grab hold of the sides of the trapdoor and let yourself | ||
| CF | down into the darkness below. Fortunately, you feel a wooden floor | ||
| CF | under your feet and you continue down into the unknown! | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | It is very dark. The only light comes from a square hole in the | ||
| CF | ceiling. | ||
| CF | | ||
| CF | Suddenly, unexpectedly, from the darkness, there's a disembodied | ||
| CF | voice! "Who's that?" it says. It's a female voice. It sounds annoyed. | ||
| CF | "Whoever it is, you might want to turn the light on before you trip | ||
| CF | over something." | ||
| CF | | ||
| CF | > | MoyTravis asks, "turn on...light?" | |
| DavidW says (to ClubFloyd), "turn on light" | ||
| CF ] Studio Crypt 3/87 | ||
| CF | > | ||
| CF | > TURN ON LIGHT | ||
| CF | | ||
| CF | You run your hands along the walls and find a switch. You press it and | ||
| CF | the room is bathed in light. | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is closed. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | The room is full of people! You start with shock, then you realise | ||
| CF | that, in fact, the cage is full of people. They are all | ||
| CF | standing or sitting behind the iron bars. | ||
| CF | | ||
| CF | Suddenly, you realise who they all are. It's your fellow actors and | ||
| CF | all the extras from your last scene. They've all been imprisoned down | ||
| CF | here in this dreadful place in the dark! | ||
| CF | | ||
| CF | Charlotte Day, who plays the Countess, leans against the iron bars. | ||
| CF | Behind her, sat with his back against the wall, is the Count, the | ||
| CF | famous Blake Lively, the finest vampire actor in the world, and over | ||
| CF | on the other side huddle the extras who played the vampire's thralls. | ||
| CF | | ||
| CF | "What the hell are you doing here," says Charlotte. "We all thought | ||
| CF | you'd been fired." | ||
| CF | | ||
| CF | "Well, darling," says Blake, with a listless wave of his hand, "It | ||
| CF | appears that standards are slipping even further. Who would have | ||
| CF | thought it?" | ||
| CF | | ||
| CF | (You can interact with other people if they're amenable! For some | ||
| CF | pointers on different ways try typing HELP. To start, why not try and | ||
| CF | TALK TO Charlotte.) | ||
| CF | | ||
| CF | "Hurry up," yells one of the extras. "Get us out of here." | ||
| CF | | ||
| CF | > | MoyTravis says, "The extras have their priorities in order." | |
| Roger says, "It's sort of too-straight to be parody, but too ridiculous to be straight" | ||
| Knight_Otu says, "The extras that were invited for "nibbles"." | ||
| DavidW says (to ClubFloyd), "talk to charlotte" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | > | ||
| CF | > TALK TO CHARLOTTE | ||
| CF | | ||
| CF | "So," says Charlotte. "Have you come to rescue us, then?" She is still | ||
| CF | wearing her stage makeup and the diaphanous white gown from wardrobe. | ||
| CF | She smiles at you, but there is something unpleasant about it. You | ||
| CF | notice she still has her prop teeth in - long white fangs that curve | ||
| CF | down over her lower lip. Strange, that. You think they'd be | ||
| CF | uncomfortable and she would take them out. | ||
| CF | | ||
| CF | (1) - "What are you doing here?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What are you doing here?" you ask. | ||
| CF | | ||
| CF | "Isn't it obvious?" replies Charlotte. "We're being imprisoned here by | ||
| CF | Arnie Mallet and his gang of demon worshipping reprobates." She sighs. | ||
| CF | "It's a lot cheaper to keep us here in cages than, you know, actually | ||
| CF | pay real actors." | ||
| CF | | ||
| CF | "Yeah," yells across one of the extras. "It's not as though we can | ||
| CF | form a union, can we boss?" | ||
| CF | | ||
| CF | Blake doesn't move, but raises a languid eyebrow. "Ah," he says, | ||
| CF | sadly. "Heckling from the stalls. Who would have thought it." | ||
| CF | | ||
| CF | (1) - "Wait - what? You're not real actors?" | ||
| CF | (2) - "Why don't you escape?" | ||
| CF | | ||
| CF | You say > | MoyTravis says, "Our main character is either very, very trusting, or kind of slow." | |
| Knight_Otu says, "Prop teeth these are not." | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Wait," you say, "what are you talking about?" | ||
| CF | | ||
| CF | The Countess looks at you oddly. "Really?" she says. "Long teeth? | ||
| CF | White skin? Unable to go out in daylight? Super strength? Worried | ||
| CF | about things with crosses in them? You really didn't know. Well," she | ||
| CF | pauses for a moment, "I suppose you wouldn't. We just assumed everyone | ||
| CF | was in on it. We're vampires." | ||
| CF | | ||
| CF | (1) - "Vampires!?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Vampires!" you whisper, your throat constricted with terror. "No!" | ||
| CF | | ||
| CF | "Well, of course," says Charlotte. "I am," and here she draws herself | ||
| CF | up to her full height, "the Countess! It's a lot cheaper for Mallet to | ||
| CF | capture real vampires to star in his films than it is to employ | ||
| CF | actors. He doesn't have to pay us anything, keeps us locked up in | ||
| CF | here. And we don't need expensive makeup or clothing. We're very cost | ||
| CF | effective. All he has to do is feed us the occasional extra." | ||
| CF | | ||
| CF | So if this is the Countess, then Blake must be the Count! And the | ||
| CF | extras are really his thralls! | ||
| CF | | ||
| CF | Blake Lively sees you looking at him. "Of course, my dear," he says, | ||
| CF | "one must really live the role. Method acting can only take you so | ||
| CF | far." | ||
| CF | | ||
| CF | (1) - "You could have killed us all!" | ||
| CF | | ||
| CF | You say > | MoyTravis says, "Maybe both." | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "But we've all been working together for weeks!" you gasp. "You could | ||
| CF | have killed us at any time!" | ||
| CF | | ||
| CF | One of the extras, no, you suppose you must now call them the thralls, | ||
| CF | giggles. "Not till the film's done!" she shouts. There's a burst of | ||
| CF | laughter from the crowd. | ||
| CF | | ||
| CF | "Quiet you," snaps the Countess. She turns to Blake. "Can't you keep | ||
| CF | these idiots in line?" | ||
| CF | | ||
| CF | Blake just shrugs. "I'm afraid, darling," he says, "that you are much | ||
| CF | better at controlling the mob than I." | ||
| CF | | ||
| CF | Charlotte sighs and turns back to you. "No," she says, "we couldn't. | ||
| CF | Firstly, most of the cast and crew are protected. Secondly, they film | ||
| CF | during the day. Where would we go? Outside in the sun? And thirdly, it | ||
| CF | wouldn't be long before Arnie and the rest of his Cult were here with | ||
| CF | their stakes and demonic hexes and then we'd be screwed." | ||
| CF | | ||
| CF | (1) - "You know about the Cult?" | ||
| CF | (2) - "What did she mean - not till the films done?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You know about the Cult of Astaroth?" you ask, remembering your own | ||
| CF | recent close encounter. | ||
| CF | | ||
| CF | The Countess hisses between her white fangs. "Don't say that name," | ||
| CF | she snarls. "That lot are idiots. They think they can control Ast.... | ||
| CF | the demon. They think it'll give them dominion over this world and the | ||
| CF | next. Fools! You wait and see. When they eventually get round to | ||
| CF | summoning it, they're in for an unpleasant surprise." | ||
| CF | | ||
| CF | Well, this is awkward. "Bad news," you begin, "I think they're | ||
| CF | summoning it tonight. I was supposed to be the sacrifice." | ||
| CF | | ||
| CF | If possible, the Countess goes even whiter than she already was. The | ||
| CF | Count breaks the silence. "The life of an actor," he declaims, "is | ||
| CF | beset by these unfortunate moments. Why, I remember when I starred in | ||
| CF | The Dreadful Kiss of the Vampire, that..." | ||
| CF | | ||
| CF | The Countess interrupts him with a snarl. "If it wasn't for you and | ||
| CF | your method acting we wouldn't be here. So be quiet." She | ||
| CF | turns back to you. "This is bad. We can help. You need to get us out | ||
| CF | of here." | ||
| CF | | ||
| CF | (1) - "You'll help?" | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You want to help defeat the Cult?" you gasp. | ||
| CF | | ||
| CF | "Of course," replies the Countess. "I'm telling you now, if Ast... | ||
| CF | that thing is summoned, it won't be good for humans. Not at all. With | ||
| CF | all our vampiric strength, we can help." | ||
| CF | | ||
| CF | "So?" shouts one of the thralls. "Why should we care about the humans? | ||
| CF | They persecute us every chance they get!" There is a mutter of | ||
| CF | agreement from the other thralls. | ||
| CF | | ||
| CF | The Countess sighs heavily. "You see," she says to you, "this is the | ||
| CF | kind of duncery I have to deal with. He," and here she nods her head | ||
| CF | at the Count, "doesn't choose his victims for their brains. | ||
| CF | Do you dear?" | ||
| CF | | ||
| CF | The Count just waves a languid hand. | ||
| CF | | ||
| CF | She turns to the thralls. "You seem to forget that humans are what we | ||
| CF | feed on and the reason they persecute us is because we drain them of | ||
| CF | all their blood. We'd not last long if there were none left. So, yes, | ||
| CF | we're going to help. All of us. As can the other undead." | ||
| CF | | ||
| CF | (1) - "How can I trust you?" | ||
| CF | (2) - "Other undead?" | ||
| CF | | ||
| CF | You say > | Roger says, "I feel like we need to find and wear a crucifix first, but I could be wrong" | |
| DavidW says (to ClubFloyd), "2" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "What do you mean by other undead?" | ||
| CF | | ||
| CF | "Well it's not just us Mallet has got captured," replies the Countess. | ||
| CF | "There's others locked up in the other studios. I don't know what | ||
| CF | other films they're making at the minute, but I'm guessing that | ||
| CF | Arnie's cutting costs by capturing and using the undead in them all. | ||
| CF | If we've got any chance of defeating the Cult - especially if they've | ||
| CF | found another sacrifice and summoned you know who and all his minions, | ||
| CF | we're gonna need an Undead Army. You need to get out there and rescue | ||
| CF | as many undead as you can and persuade them to join the cause." | ||
| CF | | ||
| CF | "But the other studios are all locked up," you blurt out. | ||
| CF | | ||
| CF | "Hmmm," says the Countess. She sighs. "Then we're screwed." | ||
| CF | | ||
| CF | "Hey," shouts a thrall from the other side of the room. "I know how to | ||
| CF | get in. I overheard one of the guards talking about it. If you get | ||
| CF | into the security room in the lobby, there's an override button. And I | ||
| CF | know the code. Get us out of here and I'll tell you it." | ||
| CF | | ||
| CF | "There you go," says the Countess. "Problem solved." | ||
| CF | | ||
| CF | (1) - "You want me to gather an Undead Army?" | ||
| CF | (2) - "How do I get you out of here?" | ||
| CF | | ||
| CF | You say > | Knight_Otu asks, "What could possibly go wrong?" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "You want to gather an Undead Army?" you ask, almost unable to believe | ||
| CF | what you are saying. | ||
| CF | | ||
| CF | "Unless you can think of a better way to battle against hordes of | ||
| CF | cultists and the evil they've summoned," shrugs the Countess. | ||
| CF | | ||
| CF | (1) - "How do I get you out of here?" | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "(Everything.)" | |
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "So how do I get you out of here?" It sounds like a terrible plan, but | ||
| CF | you really can't think of an alternative. | ||
| CF | | ||
| CF | The Countess just looks at you for a moment. "Really? A good start | ||
| CF | might be to find the key to this cage. I know they keep it in the | ||
| CF | Studio somewhere, but I don't know where. I've got vampiric strength | ||
| CF | so if it's locked in a key safe or lock-box or anything and you bring | ||
| CF | it to me, I can probably get it open. Now, get us out of here and we | ||
| CF | can get going on this. Enough chat." | ||
| CF | | ||
| CF | (1) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Studio Crypt 3/88 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | The Countess turns away from you. So, you're definitely thinking about | ||
| CF | trying to help these Vampires escape, creating an Undead Army and then | ||
| CF | leading it into battle against hordes of demons and occultists. This | ||
| CF | night is starting to get a little odd. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "give caddy to countess" | ||
| CF ] Studio Crypt 3/89 | ||
| CF | > | ||
| CF | > GIVE CADDY TO COUNTESS | ||
| CF | | ||
| CF | "Really," says the Countess. "A cup of tea, now?" She sighs and grabs | ||
| CF | the tea caddy from your hands. With a single twist, she uses what | ||
| CF | seems to be a vampiric strength and the tea caddy pops open. She hands | ||
| CF | it back to you and sighs. "There you go." | ||
| CF | | ||
| CF | The Count gets up, stretches his back lethargically, and sits back | ||
| CF | against the wall. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in it" | ||
| CF ] Studio Crypt 3/90 | ||
| CF | > | ||
| CF | > LOOK IN IT | ||
| CF | | ||
| CF | It's red and green, with pictures of elephants on the side. It is | ||
| CF | open. | ||
| CF | | ||
| CF | In the tea caddy is a small brass key. | ||
| CF | | ||
| CF | "Are you going to get us out of here?" says the Countess to you. | ||
| CF | | ||
| CF | > | MoyTravis asks, "Wait when did we pick that up?" | |
| MoyTravis asks, "Did you just...take that up because your Game Sense was tingling?" | ||
| DavidW says, "It was on the kitchen counter." | ||
| Knight_Otu says, "When we first came into the studio." | ||
| DavidW says, "yes, my game sense knew it was important." | ||
| MoyTravis says, "Hahaha! Nice." | ||
| DavidW says (to ClubFloyd), "unlock cage with key" | ||
| CF ] Studio Crypt 3/91 | ||
| CF | > | ||
| CF | > UNLOCK CAGE WITH KEY | ||
| CF | | ||
| CF | (first taking the small brass key) | ||
| CF | Taken. | ||
| CF | | ||
| CF | "Oh my god," says the Countess, with a roll of her eyes. "A tea caddy | ||
| CF | of all places. How much they value us." | ||
| CF | | ||
| CF | Wait a minute, this is your tea caddy. They've been using it to store | ||
| CF | the key to a vampiric dungeon! You don't recall them asking your | ||
| CF | permission. | ||
| CF | | ||
| CF | "Wait, what are you doing," says the Countess, raising her eyebrows. | ||
| CF | "You know we're vampires, right?" | ||
| CF | | ||
| CF | "What do you mean?" you reply, somewhat taken aback. | ||
| CF | | ||
| CF | "Well, you don't have any protection," she says, speaking very slowly, | ||
| CF | as if to a child. "If you let us out now, without any protection, | ||
| CF | we'll drain you of all your blood and all that will be left is a dried | ||
| CF | up husk. And while I'm not dead set against that, we do need you to | ||
| CF | get an undead army together first." | ||
| CF | | ||
| CF | "But I'm trying to help!" you stammer. "Why would you bite me?" | ||
| CF | | ||
| CF | The Countess shrugs. "We're vampires. That's what we do. Wouldn't be | ||
| CF | able to help ourselves. You need something to protect yourself. Like | ||
| CF | garlic, or a UV lamp, or something else we vampires find, for some | ||
| CF | narratively convenient reason, unappealing." | ||
| CF | | ||
| CF | "Hurry up," yells one of the vampire thralls. "Get us out of here." | ||
| CF | | ||
| CF | > | MoyTravis says, "So they can restrain themselves from eating you to finish a movie, but not to save themselves and the world from demonic cultists." | |
| MoyTravis says, "Great priorities there, vampires." | ||
| DavidW says, "hmm. I didn't see any vampire protection stuff." | ||
| Roger says, "I think a game like this really needs to succeed on its charms, and I'm just not finding it charming enough" | ||
| Knight_Otu asks, "There was a path south from the Lair that we didn't take yet, right?" | ||
| DavidW says, "yesh, we never went south from there." | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] Studio Store 3/92 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | You can hear footsteps to the south. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 3/93 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | You can hear footsteps to the east. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] The Vampire's Dungeon 3/94 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | The Vampire's Dungeon | ||
| CF | Painted-on slime drips from the faux stone walls, glowing vaguely | ||
| CF | fluorescent under the dim lights. Dark doorways lead to the east and | ||
| CF | south deeper into the Studio. Nylon cobwebs thickly cover the upper | ||
| CF | corners of the room and various torture equipment surrounds the set's | ||
| CF | centrepiece, an enormous shining pendulum axe. | ||
| CF | | ||
| CF | The pendulum axe sits snugly in its slot in the ceiling. | ||
| CF | | ||
| CF | On the north wall, half hidden in shadow, is the axe release handle. | ||
| CF | | ||
| CF | You can hear footsteps to the east. They seem to be getting closer! | ||
| CF | | ||
| CF | You are in a perilous situation! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hide" | ||
| CF ] The Vampire's Dungeon 3/95 | ||
| CF | > | ||
| CF | > HIDE | ||
| CF | | ||
| CF | You back into the darker shadows of the set as the footsteps tap ever | ||
| CF | closer. | ||
| CF | | ||
| CF | A security guard walks in through the door to the east. | ||
| CF | | ||
| CF | The Guard shines his torch around the set, playing it into the | ||
| CF | shadows. Fortunately, it doesn't look like he sees you! | ||
| CF | | ||
| CF | He sighs heavily and stretches his back. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull handle" | ||
| CF ] The Vampire's Dungeon 4/96 | ||
| CF | > | ||
| CF | > PULL HANDLE | ||
| CF | | ||
| CF | You wrestle with yourself for a moment. Can this be the right thing to | ||
| CF | do? But there's no use - surely you'll be forgiven if you manage to | ||
| CF | save the world, or, at least stop whatever Mallet and the Cult are up | ||
| CF | to. | ||
| CF | | ||
| CF | You pull the handle. | ||
| CF | | ||
| CF | Your sudden movement causes the guard, standing in the centre of the | ||
| CF | room, to look straight at you. "Hey..." he begins. But the rest of his | ||
| CF | words are lost. The enormous axe descends from the ceiling with a | ||
| CF | whickering whuummmm and chops straight through the centre of his body, | ||
| CF | separating him into two pieces! | ||
| CF | | ||
| CF | You look away as the gradually settling blade continues to swing back | ||
| CF | and forth, cutting the guard up into smaller and smaller parts. It | ||
| CF | eventually stops directly over the remains of what once was the | ||
| CF | Security guard. | ||
| CF | | ||
| CF | You have survived a perilous situation! | ||
| CF | | ||
| CF | > | MoyTravis says, "hmm." | |
| Roger says, "dang" | ||
| MoyTravis says, "RIP that guy." | ||
| Jacqueline says (to Roger), "I can see what you mean, but I do think it's doing some clever things plot-wise." | ||
| Knight_Otu says, "Yikes." | ||
| DavidW says (to ClubFloyd), "search guard" | ||
| CF ] The Vampire's Dungeon 4/97 | ||
| CF | > | ||
| CF | > SEARCH GUARD | ||
| CF | | ||
| CF | There's too much blood! You can hardly bear to look at it. You notice | ||
| CF | a bright glint in the viscera. It looks like something on the end of a | ||
| CF | chain. | ||
| CF | | ||
| CF | > | MoyTravis says, "He was definitely not a cultist, too." | |
| DavidW says (to ClubFloyd), "take glint" | ||
| CF ] The Vampire's Dungeon 4/98 | ||
| CF | > | ||
| CF | > TAKE GLINT | ||
| CF | | ||
| CF | You close your eyes and reach into the horrible mass of what was once | ||
| CF | a security guard. You manage to snag your finger over the chain and | ||
| CF | pull it out. On the end of the chain is a crucifix! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wear crucifix" | ||
| CF ] The Vampire's Dungeon 4/99 | ||
| CF | > | ||
| CF | > WEAR CRUCIFIX | ||
| CF | | ||
| CF | You put on the crucifix. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Score!" | |
| MoyTravis says, "Also let's check out that door to the south." | ||
| DavidW says, "of course" | ||
| DavidW says (to ClubFloyd), "look" | ||
| CF ] The Vampire's Dungeon 4/100 | ||
| CF | > | ||
| CF | > LOOK | ||
| CF | | ||
| CF | The Vampire's Dungeon | ||
| CF | Painted-on slime drips from the faux stone walls, glowing vaguely | ||
| CF | fluorescent under the dim lights. Dark doorways lead to the east and | ||
| CF | south deeper into the Studio. Nylon cobwebs thickly cover the upper | ||
| CF | corners of the room and various torture equipment surrounds the set's | ||
| CF | centrepiece, an enormous shining pendulum axe. | ||
| CF | | ||
| CF | The chunky remains of the security guard are scattered horribly across | ||
| CF | the floor. | ||
| CF | | ||
| CF | The axe hangs, sharp and forbidding, straight down from the centre of | ||
| CF | the room. The slot on the ceiling into which it can be pushed, is | ||
| CF | empty. | ||
| CF | | ||
| CF | On the north wall, half hidden in shadow, is the axe release handle. | ||
| CF | | ||
| CF | > | MoyTravis says, "This character is both very guillible and entirely unconcerned by brutal murders." | |
| DavidW says, "I don't remember the exact layout." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Count's Lair 4/101 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Count's Lair | ||
| CF | Twisted trees made from plywood grow unconvincingly out from plastic | ||
| CF | grass matting. Dotted amongst them, foam rubber boulders are speckled | ||
| CF | with green cotton wool that, in the low light, does look a little bit | ||
| CF | like moss if you squint your eyes. Dark doorways lead north and south | ||
| CF | and the set continues into the gloom to the east. | ||
| CF | | ||
| CF | > | Roger says, "I like the design of the game more than its execution, I guess is all I mean. It's not bad per se." | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Bleak and Windswept Moors 4/102 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | As you walk through the doorway into the dimly lit set you stop | ||
| CF | suddenly in fear, your heart pounding! There's a dark figure in the | ||
| CF | midst of the moors reaching out towards you with evil grasping hands | ||
| CF | and sharp fingers. You half-turn, ready to run, but then you realise | ||
| CF | it's just a prop. It's just a tree that, for a moment, looked like a | ||
| CF | dreadful creature in the gloom ready to pull you into its deadly | ||
| CF | embrace. | ||
| CF | | ||
| CF | Your heart slows down and you take a deep breath. | ||
| CF | | ||
| CF | Bleak and Windswept Moors | ||
| CF | In front of a backdrop of painted, menacing hills, the room is filled | ||
| CF | with a nasty-looking dark marsh, dotted with plastic reeds. Forbidding | ||
| CF | doorways lead north and east deeper into the Studio. This is where Mel | ||
| CF | Crispin had made his exit from the movie. Playing Alexander, the | ||
| CF | stocky, slightly comic sidekick to the Professor, he was, for fairly | ||
| CF | unconvincing narrative reasons, required to run into the bog and then | ||
| CF | get sucked down into the deep mud. | ||
| CF | | ||
| CF | That had been his last scene - he must have left the Studios pretty | ||
| CF | quick afterwards as you don't recall seeing him to say goodbye. Shame, | ||
| CF | that. You had liked Mel. | ||
| CF | | ||
| CF | A lone plywood tree rears out of the centre of the bog, its twisted | ||
| CF | arms seemingly reaching out toward the north doorway! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tree" | ||
| CF ] Bleak and Windswept Moors 4/103 | ||
| CF | > | ||
| CF | > X TREE | ||
| CF | | ||
| CF | Even though it's only made from cheap plywood, the tree looks like a | ||
| CF | figure out of a nightmare - like a ghoul reaching out with its | ||
| CF | grasping claws ready to rip and rend! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Come on, protagonist. Surely you must have realized by now." | |
| MoyTravis says, "...I think you were supposed to visit here before the vampires. The "Shame, that. You had liked Mel." I mean really." | ||
| MoyTravis says, "Yeah." | ||
| DavidW says, "I suppose pushing the tree against someone might work." | ||
| DavidW says (to ClubFloyd), "x reeds" | ||
| CF ] Bleak and Windswept Moors 4/104 | ||
| CF | > | ||
| CF | > X REEDS | ||
| CF | | ||
| CF | The clumps of reeds stick out of the marsh at regular intervals. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] The Pool of Death 4/105 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Pool of Death | ||
| CF | The set walls are covered in badly painted-on stonework and the | ||
| CF | ubiquitous nylon cobwebs sway menacingly in the dim light of the upper | ||
| CF | corners. In the centre of the room, carved stone-like figures surround | ||
| CF | a clear pool of what, in the film, was supposed to be acid so strong | ||
| CF | it could dissolve flesh in mere seconds! Doorways lead north and west | ||
| CF | into the Studio and a metal ladder climbs up the back wall toward the | ||
| CF | shadowy ceiling. | ||
| CF | | ||
| CF | It was never made entirely clear by the script why the Count would | ||
| CF | have a pool of acid in his castle or what he did with it, but it was | ||
| CF | here that Beanie Havell's character, Geoffrey, the love interest, met | ||
| CF | his untimely end - running to escape the thralls only to fall into the | ||
| CF | pool and be dissolved in what, Harry assured you all, were extremely | ||
| CF | expensive special effects. | ||
| CF | | ||
| CF | Good old Beanie. Straight after this scene, according to Harry, he'd | ||
| CF | had to leave the Studios to do a stage production of "If you like it, | ||
| CF | Missus" in Brazil of all places! Nice work if you can get it. You wish | ||
| CF | you'd had chance to wish him luck. | ||
| CF | | ||
| CF | In the centre of the floor is a sandbag. It is tied to a rope that | ||
| CF | stretches up into the shadowy recesses of the ceiling. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Then again... when looking at the state of the real world..." | |
| MoyTravis asks, "Are these all alternate ways of killing the guard?" | ||
| Knight_Otu says, "Okay, no, we're just a naive and gullible actor." | ||
| MoyTravis asks, "Swamp drowning, hit by sandbag into acid, sliced by blade?" | ||
| DavidW says, "or someone, yeah" | ||
| DavidW says, "We don't hava a blade for the rope, though." | ||
| DavidW says (to ClubFloyd), "x pool" | ||
| CF ] The Pool of Death 4/106 | ||
| CF | > | ||
| CF | > X POOL | ||
| CF | | ||
| CF | (the clear pool) | ||
| CF | The pool looks deep. The liquid inside is opaque and murky and seems | ||
| CF | to fizz a little at the edges. But surely it's just a set! | ||
| CF | | ||
| CF | > | MoyTravis says, "No, I mean. The pendulum blade was the one we did." | |
| DavidW says, "I wasn't refering to that." | ||
| MoyTravis asks, "Oh, you mean, to take...the sandbag?" | ||
| DavidW says, "I mean, if we wanted to drop the sandbag onto the guard quickly enough, we'd probably need a blade to cut the rope with." | ||
| Jacqueline says, "There's a very good Vincent Price movie that has a ridiculous vat of acid in the basement of a mansion like this." | ||
| Jacqueline says, "I'm not sure putting the guard in the acid would be great, since we need his crucifix." | ||
| MoyTravis says, "Ah, fair." | ||
| DavidW says, "Perhaps a friendly herring, immune to acid, would fetch the crucifix for us." | ||
| DavidW says, "A pickled herring." | ||
| Roger says, "House on Haunted Hill" | ||
| DavidW says (to ClubFloyd), "x rope" | ||
| CF ] The Pool of Death 4/107 | ||
| CF | > | ||
| CF | > X ROPE | ||
| CF | | ||
| CF | The rope, firmly tied to the top of the sandbag, stretches up to the | ||
| CF | shadowy ceiling. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb rope" | ||
| CF ] The Pool of Death 4/108 | ||
| CF | > | ||
| CF | > CLIMB ROPE | ||
| CF | | ||
| CF | Ooof. You pull yourself a little way off the floor, but then you give | ||
| CF | up. Upper body strength isn't a requisite for acting! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb ladder" | ||
| CF ] Lighting Gantry 4/109 | ||
| CF | > | ||
| CF | > CLIMB LADDER | ||
| CF | | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | The gently swaying wooden planks of the gantry stretch across the | ||
| CF | length of the room. Here, above the set, all is in shadow. Above you, | ||
| CF | in the ceiling, you can just make out a large hook, tied to which is | ||
| CF | one end of a long rope. Far below you, the set stretches out, made | ||
| CF | small by distance. It's a long way down! A metal ladder, set into the | ||
| CF | wall at the end of the gantry, leads downward. | ||
| CF | | ||
| CF | The rope, just within touching distance, stretches down into the set. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Well, there's a hook for acid fishing." | |
| DavidW says (to ClubFloyd), "x hook" | ||
| CF ] Lighting Gantry 4/110 | ||
| CF | > | ||
| CF | > X HOOK | ||
| CF | | ||
| CF | The hook, scarcely visible in the dim light, is attached to the | ||
| CF | ceiling. A rope dangles from it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take hook" | ||
| CF ] Lighting Gantry 4/111 | ||
| CF | > | ||
| CF | > TAKE HOOK | ||
| CF | | ||
| CF | The hook is still far out of reach on the ceiling. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Or just for rope holding." | |
| DavidW says (to ClubFloyd), "climb rope" | ||
| CF ] Lighting Gantry 4/112 | ||
| CF | > | ||
| CF | > CLIMB ROPE | ||
| CF | | ||
| CF | That's too dangerous. You'd have to lower yourself over the edge of | ||
| CF | the gantry. You'd fall!. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push rope" | ||
| CF ] Lighting Gantry 4/113 | ||
| CF | > | ||
| CF | > PUSH ROPE | ||
| CF | | ||
| CF | It is fixed in place. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull rope" | ||
| CF ] Lighting Gantry 4/114 | ||
| CF | > | ||
| CF | > PULL ROPE | ||
| CF | | ||
| CF | With difficulty, you heave at the long rope until, finally, the | ||
| CF | sandbag makes an appearance over the side of the gantry. You grab at | ||
| CF | it gratefully, your muscles shaking. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb rope" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | > | ||
| CF | > CLIMB ROPE | ||
| CF | | ||
| CF | Ooof. You pull yourself a little way off the floor, but then you give | ||
| CF | up. Upper body strength isn't a requisite for acting! | ||
| CF | | ||
| CF | > | MoyTravis says, "Or we just snap his neck with a giant sandbag." | |
| DavidW says (to ClubFloyd), "drop sandbag" | ||
| CF ] Lighting Gantry 4/116 | ||
| CF | > | ||
| CF | > DROP SANDBAG | ||
| CF | | ||
| CF | You drop the heavy bag of sand. It immediately falls over the edge of | ||
| CF | the gantry and lands with a resounding thump on the set floor directly | ||
| CF | below you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "duno" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | > | ||
| CF | > DUNO | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/115 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/114 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/113 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] Lighting Gantry 4/112 | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Lighting Gantry | ||
| CF | [Previous turn undone.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Lighting Gantry 4/113 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a small brass key, a tea caddy and a stained crimson | ||
| CF | robe. You are wearing a crucifix, a gold pocketwatch, a grey suit and | ||
| CF | a jaunty hat. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] The Pool of Death 4/114 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | | ||
| CF | The Pool of Death | ||
| CF | The set walls are covered in badly painted-on stonework and the | ||
| CF | ubiquitous nylon cobwebs sway menacingly in the dim light of the upper | ||
| CF | corners. In the centre of the room, carved stone-like figures surround | ||
| CF | a clear pool of what, in the film, was supposed to be acid so strong | ||
| CF | it could dissolve flesh in mere seconds! Doorways lead north and west | ||
| CF | into the Studio and a metal ladder climbs up the back wall toward the | ||
| CF | shadowy ceiling. | ||
| CF | | ||
| CF | In the centre of the floor is a sandbag. It is tied to a rope that | ||
| CF | stretches up into the shadowy recesses of the ceiling. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Production Area 4/115 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Production Area | ||
| CF | Behind the set, a mess of wires trail across the floor, connecting | ||
| CF | haphazardly to cameras, microphone arrays and lighting rigs. Dark | ||
| CF | doorways lead north and south into the Studio. | ||
| CF | | ||
| CF | The Director's chair sits in front of the two cameras, facing the set, | ||
| CF | which continues to the west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cameras" | ||
| CF ] Production Area 4/116 | ||
| CF | > | ||
| CF | > X CAMERAS | ||
| CF | | ||
| CF | The two cameras look pretty old fashioned. You're no expert, but you | ||
| CF | reckon these would be considered antiques ten years ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Studio Store 4/117 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clothing" | ||
| CF ] Studio Store 4/118 | ||
| CF | > | ||
| CF | > X CLOTHING | ||
| CF | | ||
| CF | A thousand old wardrobe items jammed onto the hangers haphazardly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] Studio Crypt 4/119 | ||
| CF | > | ||
| CF | > D | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is closed. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | On one side of the room, inside the cage, a small group of vampire | ||
| CF | thralls stand in a little huddle. | ||
| CF | | ||
| CF | The Count languishes in the corner of the cage, his back against the | ||
| CF | wall. | ||
| CF | | ||
| CF | The Countess leans against the iron bars, looking bored and annoyed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "unlock cage with key" | ||
| CF ] Studio Crypt 5/120 | ||
| CF | > | ||
| CF | > UNLOCK CAGE WITH KEY | ||
| CF | | ||
| CF | The key turns in the lock, and you step back, your heart pounding! | ||
| CF | Surely the vampires will descend on you with their sharp fangs. The | ||
| CF | Countess pushes the cage door open and the horde of vampires creep | ||
| CF | into the room. | ||
| CF | | ||
| CF | The Countess smiles at you nastily. "Good thing you've got that around | ||
| CF | your neck," she says. "Remember, you need to protect yourself from the | ||
| CF | undead if you're thinking about releasing them. Now," and here she | ||
| CF | turns to the thralls. "Who said they knew the code to open up the rest | ||
| CF | of the studios?" | ||
| CF | | ||
| CF | "Me," says one of the thralls, "I overheard them talking about it. | ||
| CF | It's 1967. Apparently there's an override in the security room off the | ||
| CF | lobby that will open everything up." | ||
| CF | | ||
| CF | "Finally," declaims the Count, emerging from the cage. "Freedom at | ||
| CF | last. No longer will we be persecuted for who we are..." | ||
| CF | | ||
| CF | "Will you be quiet, you pompous arse," snaps the Countess at him. | ||
| CF | "Right, you," she turns to you. "That's your job. We'll wait for you | ||
| CF | outside in the Studio Lot. When you release the other undead, send | ||
| CF | them to us. We can't come into the other studios. | ||
| CF | They're.....protected. It's up to you." | ||
| CF | | ||
| CF | She turns away as if to go and then pauses. "Oh, and one more thing." | ||
| CF | She suddenly reaches out and rips the chain from the fridge, snapping | ||
| CF | it as if it were cotton. "You might want to look in there before you | ||
| CF | go. It will help you....focus." | ||
| CF | | ||
| CF | With a sweep of her diaphanous gown, the Countess stalks from the | ||
| CF | room, swinging the chain, closely followed by the thralls and the | ||
| CF | Count. | ||
| CF | | ||
| CF | You have survived a perilous situation! You are building an Undead | ||
| CF | Army! (Try typing SCORE to keep track) | ||
| CF | | ||
| CF | > | ||
| Jacqueline clears the save counter. | ||
| Jacqueline says (to ClubFloyd), "SAVE" | ||
| Jacqueline says (to ClubFloyd), "cf1" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Crypt 5/120 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Jacqueline says, "It occurs to me that we have not been saving." | |
| MoyTravis asks, "Hooray. One studio down, of...four?" | ||
| Jacqueline says, "I'm not slightly curious about the death scenes we are missing." | ||
| Knight_Otu says, "Four sounds right." | ||
| Jacqueline says, "Like if we had not worn the crucifix." | ||
| DavidW says, "Five studios" | ||
| DavidW says (to ClubFloyd), "open fridge" | ||
| CF ] Studio Crypt 5/121 | ||
| CF | > | ||
| CF | > OPEN FRIDGE | ||
| CF | | ||
| CF | You open the fridge and immediately turn away in horror! It's full of | ||
| CF | gruesome body parts! After a moment, you collect yourself and inspect | ||
| CF | the terrible contents more closely. It seems to be the remains of two | ||
| CF | people. One of the bodies has been chopped into pieces and all that is | ||
| CF | left whole are two white legs, with red painted toenails. Wait! You | ||
| CF | recognize those toenails! The last time you saw them was when Melissa | ||
| CF | Clumb, playing Susan, was doing the axe scene! No! A terrible truth | ||
| CF | begins to dawn on you. Maybe her mother wasn't sick after all! | ||
| CF | | ||
| CF | Heart in mouth, you look at the other body. All that's left of it is a | ||
| CF | partially dissolved skeleton, two relatively whole arms and part of a | ||
| CF | face. A face you recognize. It's Beanie Havell! Not playing Bertie | ||
| CF | Foppish in 'If you like it, Missus' on a Brazilian stage, but | ||
| CF | dissolved by acid instead! | ||
| CF | | ||
| CF | Surely Arnie Mallet can't have gone this far! But maybe he has - you | ||
| CF | realise you need to stop his evil forever! | ||
| CF | | ||
| CF | > | Jacqueline says, "Or if we had just continued to wait outside the initial office." | |
| MoyTravis says, "MC, why are you like this." | ||
| Knight_Otu says, "Glad you could join us, protagonist." | ||
| Jacqueline says, "heh" | ||
| Knight_Otu says, "Pity it took a gruesome display for that though." | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] Studio Crypt 5/121 | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | You're still in one piece. That's a good start. | ||
| CF | | ||
| CF | You are building an undead army! So far, it consists of the Count, the | ||
| CF | Countess and their bloodthirsty vampire thralls. | ||
| CF | | ||
| CF | You have survived five perilous situations! | ||
| CF | | ||
| CF | - You avoided the murderous attentions of the Cult of Astaroth! | ||
| CF | - You managed to escape from the Cult's Lair! | ||
| CF | - You killed a crazed Cultist with a wooden stake! | ||
| CF | - You chopped a relatively blameless security guard into little | ||
| CF | pieces with a huge axe! | ||
| CF | - You protected yourself from vampires with a simple golden | ||
| CF | crucifix! | ||
| CF | | ||
| CF | > | Jacqueline says, "haha. The security guard one is good." | |
| Jacqueline says, "'relatively blameless' - so true." | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf2" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Studio Crypt 5/121 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah. Remind us that we killed an innocent person." | |
| MoyTravis says, "I'm not sure how we chopped him into little bits, though. I was envisioning, like, two halves, or four parts at most on the backstroke." | ||
| DavidW asks, "I wonder if someone else can drive for a bit?" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Studio Crypt 5/122 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Studio Crypt | ||
| CF | The square windowless room, grimly lit by a bright light from the | ||
| CF | naked lightbulb on the ceiling, is surrounded on three sides by a | ||
| CF | large cage made from iron bars that run from ceiling to floor. A | ||
| CF | barred door into the cage is open. One one side, next to a | ||
| CF | lightswitch, a rickety wooden ramp leads up to a hole in the ceiling. | ||
| CF | The walls are made from grey stone and drip with moisture. The whole | ||
| CF | room seems to give off a damp earthy smell of decay! | ||
| CF | | ||
| CF | In the centre of the room is a large white box that looks like a | ||
| CF | kitchen refrigerator. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "u" | ||
| CF ] Studio Store 5/123 | ||
| CF | > | ||
| CF | > U | ||
| CF | | ||
| CF | | ||
| CF | Studio Store | ||
| CF | Props from a hundred bad movies loom out of the dim light in piles on | ||
| CF | the floor and stacked on metal shelving. Wide hangers hold arrays of | ||
| CF | multi-colored clothing. There may be a storage methodology at work | ||
| CF | here, but you can't see it. To your eyes, it just looks like random | ||
| CF | piles of junk made from cloth and plywood. Dimly lit doorways in the | ||
| CF | west and south walls lead into shadow. | ||
| CF | | ||
| CF | A rolled up rug is next to an open trapdoor, leading down into a | ||
| CF | brightly lit room. | ||
| CF | | ||
| CF | A sewing machine sits on a workbench in front of the clothes hangers. | ||
| CF | | ||
| CF | > | DavidW asks, "The keypad was u. w. n. n. w. u, I think?" | |
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Studio Waiting Room 5/124 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Studio Waiting Room | ||
| CF | The dim lights barely illuminate the scattering of uncomfortable | ||
| CF | chairs where actors are supposed to spend their time between takes. A | ||
| CF | door to the north leads outside and dark doorways lead to the east and | ||
| CF | west deeper into the studio. | ||
| CF | | ||
| CF | The kitchen counter along one wall, stained with coffee mug rings, | ||
| CF | holds the accumulated detritus of a hundred extras' various drink | ||
| CF | making ingredients. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Studio Lot South 5/125 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | Studio Lot South | ||
| CF | Here, the lot is surrounded on three sides by Studios, looming out of | ||
| CF | the night like ancient guardians. The lot continues to the north into | ||
| CF | shadow. To the east side is the door to Studio 3, to the west, Studio | ||
| CF | 4 and to the south the door to Studio 5 where you have spent so much | ||
| CF | time over the last two weeks. A sign over each door proclaims the | ||
| CF | movie that is being made there. | ||
| CF | | ||
| CF | Vampire thralls stand in a surly group, shooting suspicious glances at | ||
| CF | you. | ||
| CF | | ||
| CF | Over by the studio walls, the Count stands listlessly, staring off | ||
| CF | into the sky. | ||
| CF | | ||
| CF | The Countess paces impatiently around the lot. | ||
| CF | | ||
| CF | A dead cultist lies sprawled on the ground, his face frozen in a | ||
| CF | horrifying rictus. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Studio Lot North 5/126 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the closed Studio 2 door. On each | ||
| CF | door, a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Entrance vestibule 5/127 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is a closed smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x desk" | ||
| CF ] Entrance vestibule 5/128 | ||
| CF | > | ||
| CF | > X DESK | ||
| CF | | ||
| CF | The plain desk has the logo of Mallet Studios emblazoned across the | ||
| CF | front of it. Usually, during the day, a bored security guard stands | ||
| CF | behind it. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Well, we're nearly at 2 hours, and I do have to go, so if you need a new driver, maybe we just pick this up next week?" | |
| Knight_Otu says (to ClubFloyd), "x padlock" | ||
| CF ] Entrance vestibule 5/128 | ||
| CF | > | ||
| CF | > X PADLOCK | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Knight_Otu says, "We could also do that." | |
| MoyTravis says, "I have no objection." | ||
| Knight_Otu asks, "Maybe open the door first, then save?" | ||
| Jacqueline says, "Like, I could hang the last 20 minutes, but have to go at the top of the hour, and if you're getting tired..." | ||
| Knight_Otu says (to ClubFloyd), "type 1967 on keypad" | ||
| CF ] Entrance vestibule 5/129 | ||
| CF | > | ||
| CF | > TYPE 1967 ON KEYPAD | ||
| CF | | ||
| CF | There's nothing here to type on. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "type 1967" | ||
| CF ] Entrance vestibule 5/130 | ||
| CF | > | ||
| CF | > TYPE 1967 | ||
| CF | | ||
| CF | There's nothing here to type on. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x keypad" | ||
| CF ] Entrance vestibule 5/131 | ||
| CF | > | ||
| CF | > X KEYPAD | ||
| CF | | ||
| CF | The keypad has the numbers 0 to 9 in a small square. At the top shines | ||
| CF | a small red light. You could ENTER the code you've learned. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "enter 1967" | ||
| CF ] Entrance vestibule 5/132 | ||
| CF | > | ||
| CF | > ENTER 1967 | ||
| CF | | ||
| CF | The light on the keypad turns green and the security door unlocks with | ||
| CF | a click. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | Jacqueline says, "Ah, that was weird." | |
| Knight_Otu says (to ClubFloyd), "cfhorrorisreal" | ||
| CF ] Entrance vestibule 5/132 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Jacqueline says, "heh" | |
| Jacqueline says, "Okay, see y'all next week." | ||
| Jacqueline says, "Be safe out there. Avoid cultists." | ||
| DavidW asks, "what, are we stopping?" | ||
| Jacqueline says, "Yes. You said you needed a break, and we only had 20 more minutes, so..." | ||
| DavidW says, "oh, I see." | ||
| DavidW says, "This seems a good stopping point too." | ||
| Jacqueline says, "Yeah" | ||
| Knight_Otu says, "Also, avoid greek letters." | ||
| MoyTravis says, "Ha. Yeah, good luck." | ||
| Jacqueline says (to KO), "heh. So true." | ||
| DavidW says, "I've had to kill two bugs crawling onto my clipboard during this session." | ||
| DavidW says, "The clipboard in my lap." | ||
| DavidW says, "I have my own horror story." | ||
| Roger goes home. | Roger says, "aww that new person didn't come back. Oh well maybe later" | |
| DavidW says, "See you all next week." | ||
| DavidW disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | Knight_Otu exclaims, "Good night, and stay safe!" | |
| Knight_Otu goes home. | ||
| MoyTravis disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| *** SESSION 2 *** | ||
| Jacqueline says (to burl), "The other thing you should know is that we're resuming a game we started last week. I was... super tired last week, so I am hoping someone else can recap what has happened thus far." | ||
| MoyTravis says, "Last week we were playing Dr. Horror's House of Horror. Or Dr. Horror's House of Terror. Or Dr. Terror's House of Horror." | ||
| MoyTravis says, "One of those is probably right." | ||
| MoyTravis says, "Anyways, we were an actor, shooting a horror movie, but it turns out the horror staff are a cult and the monsters in the cast are real undead monsters and so now we need to free the monsters to fight the cult." | ||
| MoyTravis says, "Also we murdered a perfectly innocent security guard. Go us." | ||
| Roger says, "That sounds about right" | ||
| Knight_Otu says, "We've freed the vampires and unlocked the door that'll allow us to unlock the other horror sets. Surely everything will be fine." | ||
| MoyTravis says, "Of course everything will be fine it's a puzzley parser game." | ||
| MoyTravis asks, "If it were, like, a Twine game, maybe things wouldn't be fine. But puzzly parser games?" | ||
| Knight_Otu says, "I dunno, I'm sure there are parser games where the protagonist causes the end of the world as we know it." | ||
| Jacqueline says, "There are definitely parser games with not-happy endings." | ||
| Jacqueline says, "Perhaps thousands of them." | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Entrance vestibule 5/133 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is a closed smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I guess we need to go east from here." | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Guard room 5/134 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening the smaller door) | ||
| CF | | ||
| CF | Guard room | ||
| CF | Banks of monitors, showing only dark screens, cover one wall of the | ||
| CF | small dingy room. Underneath them is a desk on which is a keyboard and | ||
| CF | some sort of control panel. The door in the west wall is open. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x monitors" | ||
| CF ] Guard room 5/135 | ||
| CF | > | ||
| CF | > X MONITORS | ||
| CF | | ||
| CF | The monitors, lined up on the wall, all have darkened screens. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x desk" | ||
| CF ] Guard room 5/136 | ||
| CF | > | ||
| CF | > X DESK | ||
| CF | | ||
| CF | On the functional desk is a keyboard and some sort of control panel. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x keyboard" | ||
| CF ] Guard room 5/137 | ||
| CF | > | ||
| CF | > X KEYBOARD | ||
| CF | | ||
| CF | An old fashioned and blocky keyboard attached to the desk. The | ||
| CF | lettering on the keys has worn away from years of use. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x panel" | ||
| CF ] Guard room 5/138 | ||
| CF | > | ||
| CF | > X PANEL | ||
| CF | | ||
| CF | A square thing covered in various knobs and buttons that presumably | ||
| CF | have something to do with security cameras and alarms. But you have no | ||
| CF | idea what any of them do. Apart from a big red button that says | ||
| CF | "Security override". That looks important. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x button" | ||
| CF ] Guard room 5/139 | ||
| CF | > | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | The large red button sticks out of the centre of the control panel. It | ||
| CF | has the words "Security Override" written on it in small neat white | ||
| CF | letters. | ||
| CF | | ||
| CF | > | MoyTravis exclaims, "Press button!" | |
| Knight_Otu says, "Let's unleash some horrors." | ||
| Knight_Otu says (to ClubFloyd), "push button" | ||
| CF ] Guard room 5/140 | ||
| CF | > | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | You poke the button with your finger. It clicks down and then pops | ||
| CF | back up. Maybe it did something. Who can tell. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Entrance vestibule 5/141 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Entrance vestibule | ||
| CF | At last! Somewhere brightly lit. The big square vestibule has double | ||
| CF | doors opposite one another on both north and south walls. The doors to | ||
| CF | the south seem to lead outside. To the north, the glass doors are dark | ||
| CF | and forbidding and lead into the interior of the building. On the east | ||
| CF | wall, opposite the closed stairwell door to the west and behind an | ||
| CF | unmanned security desk is an open smaller door with a small keypad | ||
| CF | next to it. | ||
| CF | | ||
| CF | > | Roger says, "haha" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Studio Lot North 5/142 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Studio Lot North | ||
| CF | The northern end of the huge lot, oppressively surrounded by the | ||
| CF | looming, darkened studio buildings, is overlooked to the north by the | ||
| CF | ugly and squat offices, their windows watching over the lot like great | ||
| CF | eyes. Who knows what lurks behind them. To the west, the door to | ||
| CF | Studio 1 is closed. To the east, the closed Studio 2 door. On each | ||
| CF | door, a sign. The lot continues to the south into shadow. | ||
| CF | | ||
| CF | > | Jacqueline says, "should we have... oh, I guess we had just saved. Never mind." | |
| Knight_Otu says (to ClubFloyd), "x studio 1" | ||
| CF ] Studio Lot North 5/142 | ||
| CF | > | ||
| CF | > X STUDIO 1 | ||
| CF | | ||
| CF | Which do you mean, Studio 1 door or Studio 1 sign? | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "sign" | ||
| CF ] Studio Lot North 5/143 | ||
| CF | > | ||
| CF | > SIGN | ||
| CF | | ||
| CF | The sign reads "Blood of the Werewolf's Claw" and then, in slightly | ||
| CF | smaller letters, "Dir: Benny Tibbings". | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x sign 2" | ||
| CF ] Studio Lot North 5/144 | ||
| CF | > | ||
| CF | > X SIGN 2 | ||
| CF | | ||
| CF | The sign reads "The Things That Could Never Die!" and then, "Dir: | ||
| CF | Herbert Blom". | ||
| CF | | ||
| CF | > | Knight_Otu says, "Werewolf and Zombies, I guess." | |
| Pinkunz says, "I vote zombies." | ||
| MoyTravis says, "Sure, why not." | ||
| Knight_Otu says, "Then let's get our brain eaten." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Guard's Break Room 5/145 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | (first opening Studio 2 door) | ||
| CF | The studios are unlocked! Who knows what terrors lie in wait for you | ||
| CF | over the course of this night? You take a deep breath and pluck up | ||
| CF | your courage. The dreadful undead await! | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | The Guard looks up at you over her paper. "Well, hello," she says. "We | ||
| CF | don't get many visitors at this hour." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to guard" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "How can I help you?" asks the Guard. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "Are you going to stop me going in?" | ||
| CF | (4) - "You worked here long?" | ||
| CF | (5) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "So what's going on in the Studio?" you ask, | ||
| CF | | ||
| CF | The Guard shivers as if something is frightening her. "Oh," she | ||
| CF | replies, "don't ask. We all hate working in there. That's why we've | ||
| CF | made this little room. There's definitely something awful haunting the | ||
| CF | place. You can feel it as soon as you go in. So whenever we draw this | ||
| CF | shift, we just sit in here. Nobody's noticed or complained, so.." she | ||
| CF | shrugs. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Are you going to stop me going in?" | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Smart. Stay clear of zombies and axe pendulums." | |
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Shouldn't you be patrolling the studio?" you ask. | ||
| CF | | ||
| CF | The Guard sighs. "Technically, yes," she says, "but I'm not going in | ||
| CF | there. There's something not right in that place. It's cold. There's | ||
| CF | weird unnatural sounds in the dark. They don't pay me enough." | ||
| CF | | ||
| CF | (1) - "Tell me more about what's in the studio." | ||
| CF | (2) - "Are you going to stop me going in?" | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "So can I go in, then?" you say. "Or are you going to stop me." | ||
| CF | | ||
| CF | "If you really want to," says the Guard. "I wouldn't recommend it | ||
| CF | though. I'm not supposed to let anyone in, but, to be honest, if you | ||
| CF | went through there, I'm not going to come in after you." | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Pinkunz says, "I wonder if we can get this guard killed as well. 2 for 2." | |
| Knight_Otu says (to ClubFloyd), "3" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 3 | ||
| CF | | ||
| CF | "You worked here for long?" you ask. | ||
| CF | | ||
| CF | "Yeah, on and off for a few years. There have been some changes, let | ||
| CF | me tell you." The Guard frowns. "But, you know, we all just come in | ||
| CF | and do our jobs and try not to think about it." She goes silent, | ||
| CF | obviously unwilling to say more. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "Are you going to stop me going in?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Jacqueline says, ";..Pinkunz hahaha awwww" | |
| Jacqueline asks, "Does 2 give more or repeat?" | ||
| Knight_Otu says, "I mean, we've killed already, and unleashed creatures that need to kill humans to survive, so..." | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 2 | ||
| CF | | ||
| CF | "Like I said, it's definitely haunted in there. We all hate it." | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Are you going to stop me going in?" | ||
| CF | (3) - "You worked here long?" | ||
| CF | (4) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Not really more." | |
| Pinkunz says, "That well looks dry." | ||
| Jacqueline says, "Yeah" | ||
| Knight_Otu says (to ClubFloyd), "4" | ||
| CF ] Guard's Break Room 5/146 | ||
| CF | You say > | ||
| CF | > 4 | ||
| CF | | ||
| CF | The Guard smiles at you. "Good luck!" | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Guard's Break Room 5/147 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Look at newspaper?" | |
| Knight_Otu says (to ClubFloyd), "x table" | ||
| CF ] Guard's Break Room 5/148 | ||
| CF | > | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | The small, beat-up old table looks like it might have been rescued | ||
| CF | from the trash. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x newspaper" | ||
| CF ] Guard's Break Room 5/149 | ||
| CF | > | ||
| CF | > X NEWSPAPER | ||
| CF | | ||
| CF | It's a red top. In the low light, you can just make out the headline | ||
| CF | on the front page - "Actor missing after police search". | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah, odd that headline." | |
| Pinkunz says, "meh." | ||
| Knight_Otu says (to ClubFloyd), "x lamp" | ||
| CF ] Guard's Break Room 5/150 | ||
| CF | > | ||
| CF | > X LAMP | ||
| CF | | ||
| CF | The lamp throws a welcome pool of light into the corner. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x gap" | ||
| CF ] Guard's Break Room 5/151 | ||
| CF | > | ||
| CF | > X GAP | ||
| CF | | ||
| CF | The gap leads into the studio proper. It's pretty gloomy in there. | ||
| CF | | ||
| CF | > | Jacqueline asks, "What does 'red top' mean in that context? Anyone know or should I search the World Wide Web of Internet URLs?" | |
| Pinkunz says, "Turn off lamp? I don't think the guard would like that." | ||
| Pinkunz says (to jacq), "Not familiar" | ||
| Knight_Otu says (to ClubFloyd), "get lamp" | ||
| CF ] Guard's Break Room 5/152 | ||
| CF | > | ||
| CF | > GET LAMP | ||
| CF | | ||
| CF | "Hey," says the Guard. "I need that to read." | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh. It means it's a tabloid." | |
| Knight_Otu says, "I suspected as much." | ||
| MoyTravis asks, "That a Britishism?" | ||
| Jacqueline says, "Because those often have big red mastheads on the front page." | ||
| Pinkunz says, "Fairly well implemented." | ||
| Jacqueline says (to Travis), "Yeah, I suspect so." | ||
| burl says, "Batboy Found In Text Adventure" | ||
| Jacqueline exclaims (at burl), "yay!" | ||
| Knight_Otu says, "We may need a light source, but we'll see." | ||
| burl asks, "oh! can i see the inventory?" | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] Guard's Break Room 5/153 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a small brass key, a tea caddy and a stained crimson | ||
| CF | robe. You are wearing a crucifix, a gold pocketwatch, a grey suit and | ||
| CF | a jaunty hat. | ||
| CF | | ||
| CF | > | burl exclaims, "thank you Knight!" | |
| Pinkunz says, "Ditto." | ||
| Pinkunz asks, "I'm assuming DW was caretaking the map?" | ||
| Knight_Otu says, "I think so, yes." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Alleway, Rue des Verrièrs 5/154 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | As you walk out of the little break room and into the dimly lit | ||
| CF | studio, a cold shiver runs down your spine. It feels like there is an | ||
| CF | evil presence here! Something terrible is waiting and watching in the | ||
| CF | shadows! | ||
| CF | | ||
| CF | It doesn't feel like this during the day. You worked a couple of | ||
| CF | scenes on this film as an extra, so you've been here a few times. But | ||
| CF | now, in the gloom of the night, you are sure that a horrific presence | ||
| CF | haunts this place! | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | Pinkunz asks, "south or east?" | |
| Knight_Otu says (to ClubFloyd), "search buildings" | ||
| CF ] Alleway, Rue des Verrièrs 5/155 | ||
| CF | > | ||
| CF | > SEARCH BUILDINGS | ||
| CF | | ||
| CF | It's pretty impressive work by the set designer. It really does feel, | ||
| CF | at least a little, like you are walking along a street in New Orleans. | ||
| CF | | ||
| CF | The hairs on your neck stand up as if something awful is behind you! | ||
| CF | You turn around quickly, but the alleway is empty. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x balconies" | ||
| CF ] Alleway, Rue des Verrièrs 5/156 | ||
| CF | > | ||
| CF | > X BALCONIES | ||
| CF | | ||
| CF | Cleverly painted plywood does look a little like cast iron! | ||
| CF | | ||
| CF | You feel icy breath on your neck and you shiver in terror! | ||
| CF | | ||
| CF | > | Knight_Otu says, "South is mentioned first." | |
| Knight_Otu says (to ClubFloyd), "x vines" | ||
| CF ] Alleway, Rue des Verrièrs 5/157 | ||
| CF | > | ||
| CF | > X VINES | ||
| CF | | ||
| CF | The vines and assorted plastic plants cascade over the balconies and | ||
| CF | down the side of the buildings. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "climb vines" | ||
| CF ] Alleway, Rue des Verrièrs 5/158 | ||
| CF | > | ||
| CF | > CLIMB VINES | ||
| CF | | ||
| CF | You can't reach them. They are high above you, attached to the | ||
| CF | balconies. | ||
| CF | | ||
| CF | > | Pinkunz says (to Knight), "Nice try." | |
| Knight_Otu says (to ClubFloyd), "x windows" | ||
| CF ] Alleway, Rue des Verrièrs 5/159 | ||
| CF | > | ||
| CF | > X WINDOWS | ||
| CF | | ||
| CF | They're not real glass of course, just painted wood with some sort of | ||
| CF | reflective film over it to make it look like glass. | ||
| CF | | ||
| CF | > | burl says, "i love how the low-interaction responses in this game give you spooky B movie instead of parser sass, and the no-interaction responses still give details" | |
| Roger says, "yeah, there was some care taken in the details on this" | ||
| Knight_Otu asks, "I think we're ready to move to the next room. Anything I've missed?" | ||
| Pinkunz says, "Agreed. Even an action that is disallowed should at least be acknowledged." | ||
| Pinkunz says, "Not that I can see." | ||
| Jacqueline says, "Next room is fine, yeah" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/160 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | This set, you know for a fact, has been used in various incarnations | ||
| CF | in at least a dozen Mallet Studios films over the years. Why, even in | ||
| CF | your own film, The Revenge of the Bride of the Vampire, it had been | ||
| CF | re-purposed as a magnificent dining room - you had sat down here with | ||
| CF | Lord Heskley-Smytheson over dinner and had told him (and thus, the | ||
| CF | audience) about the terrible vampire threat and how you intended to | ||
| CF | deal with it. | ||
| CF | | ||
| CF | "You must find and destroy this terrible evil, Professor," declaimed | ||
| CF | Crispin Bowdler, playing the Lord and trying to chew the scenery as | ||
| CF | usual. The ham. "Only then will my daughter be safe." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x mirrors" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/161 | ||
| CF | > | ||
| CF | > X MIRRORS | ||
| CF | | ||
| CF | The gilded mirrors reflect your face a dozen times on every wall! | ||
| CF | | ||
| CF | > | Pinkunz asks, "Examine "false" door?" | |
| Knight_Otu says (to ClubFloyd), "x door" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/162 | ||
| CF | > | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | The double doors look pretty realistic, but really it's just a wooden | ||
| CF | doorframe stuck onto the wall. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "open door" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/163 | ||
| CF | > | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | The false door is stuck pretty firmly onto the wall. | ||
| CF | | ||
| CF | > | Pinkunz shrugs. | |
| Knight_Otu says, "Apparently it is actually false." | ||
| Knight_Otu says (to ClubFloyd), "x stage" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/164 | ||
| CF | > | ||
| CF | > X STAGE | ||
| CF | | ||
| CF | The wooden stage is a square area for the band to stand on. | ||
| CF | | ||
| CF | > | ||
| DavidW has arrived. | Knight_Otu exclaims, "David!" | |
| Pinkunz says, "Hi DW." | ||
| DavidW says, "hi. Sorry I overslept again" | Jacqueline exclaims, "Hello!" | |
| MoyTravis says, "Hey David." | ||
| Jacqueline says, "No worries. Thought that might be the case from recapping your channel." | ||
| Pinkunz says (to DavidW), "David, meet Burl." | ||
| Pinkunz says (to Burl), "Burl, meet David." | ||
| burl exclaims, "hi David!" | ||
| DavidW says, "gimme a sec. I can't see much. I have to clean my glasses." | ||
| Jacqueline says, "We've not gotten far, we could give you a second to do that, and to then recap the game." | ||
| Pinkunz says, "Was literally half a second behind typing almost the same thing." | ||
| DavidW says, "ok. hi again" | ||
| DavidW says, "hi burl" | ||
| Pinkunz says, "Sorry to hear your sleep patters are screwy. I know how disorienting that can be." | ||
| DavidW says, "Sleep patterns and more. I haven't eaten in ages." | ||
| Jacqueline says, "That's not good." | ||
| Knight_Otu says, "oh dear." | ||
| Pinkunz asks, "Do you still have those frozen berries stashed away?" | ||
| DavidW says, "All I had yesterday was two breakfast sandwiches and a dozen donuts and some very stale crackers." | ||
| DavidW says, "uh, yes. Some berries remain." | ||
| Jacqueline asks, "A... a dozen donuts?" | ||
| DavidW says, "sorry, half dozen" | ||
| Jacqueline asks, "Did I read that right?" | ||
| Jacqueline says, "Oh. Still." | ||
| MoyTravis says, "hahahahaha" | ||
| Pinkunz says, "Yeah, I was erm... impressed as well." | ||
| DavidW says, "I'm half asleep still, I guess." | ||
| Jacqueline asks, "Do you need to go get a snack, or should we proceed?" | ||
| DavidW says, "I don't have much in the way of snacks but those berries. I just remembered I ate a tin of sardines yesterday as well." | ||
| DavidW asks, "Which game are we playing today?" | ||
| Pinkunz says, "Shame we can't just send you a doordashed lunch." | ||
| Pinkunz says, "House of Horrors, or Terrors, or scary stuff." | ||
| Knight_Otu says, "We're still on that horror movie game." | ||
| DavidW says, "oh Dr Horror. Okay." | ||
| Knight_Otu says, "We're on what we thought was the Zombie Movie set, but it seems something else." | ||
| DavidW says, "okay, found my notes from last time" | ||
| Jacqueline says, "Yeah. Seems haunted." | ||
| Pinkunz says, "Met another security guard. Haven't killed them just yet." | ||
| Knight_Otu says (to ClubFloyd), "x chandelier" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/165 | ||
| CF | > | ||
| CF | > X CHANDELIER | ||
| CF | | ||
| CF | The huge chandelier drips with crystals that would sparkle and shine | ||
| CF | if there was any real light. Which there isn't. | ||
| CF | | ||
| CF | The hairs on your neck raise. You swear you are being watched. | ||
| CF | | ||
| CF | > | DavidW says, "We have to round up undead forces from the other four studios." | |
| Knight_Otu says, "Yeah." | ||
| burl says, "DW it sounds like you are doing a map? is that paper or somehow in this mud" | ||
| DavidW says, "Paper." | ||
| DavidW says, "No map yet." | ||
| Jacqueline says, "David does maps and walkthroughs that he posts for the world eventually, but they start on paper." | ||
| burl says, "ok we have done North Lot -E-> Guard Break Room -E->Alley" | ||
| Pinkunz says, "He sometimes does it digitally and has a link if the game is big enough. I remember you had a digital version for CragneManor." | ||
| Jacqueline says, "Oh, true" | ||
| DavidW says, "I could do it for Cragne Manor because I already had played the game and had the map ready." | ||
| Jacqueline says, "ah" | ||
| Pinkunz says, "Ah... I just thought you were super productive, lol." | ||
| Knight_Otu says, "I mean, playing through Cragne Manor is no simple feat." | ||
| says, "Yeah, I walked into CF halfway through Cragne Manor and it was too late to catch up honestly. That game was a monster." | ||
| Pinkunz asks, "If DW is ready, do we have anything to break one of the mirrors with?" | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/166 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying a small brass key, a tea caddy and a stained crimson | ||
| CF | robe. You are wearing a crucifix, a gold pocketwatch, a grey suit and | ||
| CF | a jaunty hat. | ||
| CF | | ||
| CF | > | DavidW says, "I have my mug of frozen berries now." | |
| Pinkunz exclaims (at David), "Good!" | ||
| Jacqueline says, "Cragne took us 19 sessions." | ||
| Jacqueline says, "Started in December, completed it in May." | ||
| burl asks, "what objects in our inventory do we have at least one known purpose for?" | ||
| MoyTravis says, "Nice on berries, good lord on Cragne taking 19 sessions." | ||
| Pinkunz says, "Thank goodness for the Coffee Grounds." | ||
| Knight_Otu says, "Club Cragne." | ||
| DavidW says, "And I got to cackle all those months." | ||
| Jacqueline says (to KO), "haha yes" | ||
| Knight_Otu says (to ClubFloyd), "break mirror" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/167 | ||
| CF | > | ||
| CF | > BREAK MIRROR | ||
| CF | | ||
| CF | The huge mirrors are firmly fixed to the walls. | ||
| CF | | ||
| CF | There's a movement in one of the mirrors! You look, quickly, but | ||
| CF | there's nothing. | ||
| CF | | ||
| CF | > | DavidW asks, "The mirrors are probably there to keep the vampires out,yes?" | |
| Knight_Otu says, "I think the tea caddy was only hiding the vampire key." | ||
| Jacqueline says, "Well, we know that the crucifix will keep the vampires from eatintg us, but the tothers stuff, I'm not sure we know the uses or if there are uses." | ||
| burl says, "yeah they don't seem like something we want to break" | ||
| Pinkunz says, "I walked in on the session where the player tricked you to climb the shelf to window, which causes you to fall and break a floorboard, revealing a tentacle, which, if eaten, let to a protracted and trippy death scene. It was a bizarre introduction to Club Floyd." | ||
| Knight_Otu says (to ClubFloyd), "throw caddy at mirrors" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/168 | ||
| CF | > | ||
| CF | > THROW CADDY AT MIRRORS | ||
| CF | | ||
| CF | Futile. | ||
| CF | | ||
| CF | You think you see something in one of the mirrors! You quickly turn | ||
| CF | your head, but there is nothing. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Oh man, that room. Guided us right where it wanted us." | |
| burl says, "oh wow Pinkunz that...is an introduction" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/169 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | There's a shadowy face in one of the mirrors! You look, but no! It | ||
| CF | must just be your imagination. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x stairs" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/170 | ||
| CF | > | ||
| CF | > X STAIRS | ||
| CF | | ||
| CF | The stairs look impressive, but, really they're just a plywood prop, | ||
| CF | ending at a false door on the wall. | ||
| CF | | ||
| CF | The hairs on your neck raise. You swear you are being watched. | ||
| CF | | ||
| CF | > | burl says, "raised stage sounds interesting" | |
| Pinkunz says, "The author took their time with alternate scenery text. I'm impressed." | ||
| Knight_Otu says (to ClubFloyd), "stand on stage" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/171 | ||
| CF | > | ||
| CF | > STAND ON STAGE | ||
| CF | | ||
| CF | You get onto the raised stage. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/172 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion (on the raised | ||
| CF | stage) | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | DavidW says, "It's also possible one or more of the mirrors are secret doors or one-way glass." | |
| burl says, "yes! and half of the time the alt text has clues, so it's not just something to add flavor" | ||
| Knight_Otu says (to ClubFloyd), "x doors" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/173 | ||
| CF | > | ||
| CF | > X DOORS | ||
| CF | | ||
| CF | The double doors look pretty realistic, but really it's just a wooden | ||
| CF | doorframe stuck onto the wall. | ||
| DavidW says (to ClubFloyd), "x stage" | ||
| CF | | ||
| CF | > | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/174 | ||
| CF | > | ||
| CF | > X STAGE | ||
| CF | | ||
| CF | The wooden stage is a square area for the band to stand on. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x false door" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/175 | ||
| CF | > | ||
| CF | > X FALSE DOOR | ||
| CF | | ||
| CF | The double doors look pretty realistic, but really it's just a wooden | ||
| CF | doorframe stuck onto the wall. | ||
| CF | | ||
| CF | > | Pinkunz says, "Like a hint generator, but not so obnoxious." | |
| DavidW says (to ClubFloyd), "look under stage" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/176 | ||
| CF | > | ||
| CF | > LOOK UNDER STAGE | ||
| CF | | ||
| CF | The wooden plinth is pretty solidly built.. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I think that's what the room has to offer for now." | |
| Pinkunz says, "Agreed." | ||
| Jacqueline says, "mmkay" | ||
| Knight_Otu says (to ClubFloyd), "stand" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/177 | ||
| CF | > | ||
| CF | > STAND | ||
| CF | | ||
| CF | You get off the raised stage. | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | In the corner of your eye, you see a hand reaching out towards you | ||
| CF | from one of the mirrors! You gasp and back away, but there's nothing | ||
| CF | there. Just your own reflection. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/178 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | There's a dark shape lying in the confines of the white outline! No - | ||
| CF | no there isn't. It's just your fevered imagination. | ||
| CF | | ||
| CF | > | Pinkunz asks, "x pipes?" | |
| Knight_Otu says, "I'm finding this set more evocative than the vampire set." | ||
| Knight_Otu says (to ClubFloyd), "x pipes" | ||
| CF ] Basement 5/179 | ||
| CF | > | ||
| CF | > X PIPES | ||
| CF | | ||
| CF | The pipes, going nowhere in particular, run in a tangled mass across | ||
| CF | the ceiling. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x ducts" | ||
| CF ] Basement 5/180 | ||
| CF | > | ||
| CF | > X DUCTS | ||
| CF | | ||
| CF | The pipes, going nowhere in particular, run in a tangled mass across | ||
| CF | the ceiling. | ||
| CF | | ||
| CF | > | Pinkunz says, "Meh" | |
| Knight_Otu says (to ClubFloyd), "x mould" | ||
| CF ] Basement 5/181 | ||
| CF | > | ||
| CF | > X MOULD | ||
| CF | | ||
| CF | The painted walls do make the set look a little bit like a mouldy, | ||
| CF | water stained, subterranean room. | ||
| CF | | ||
| CF | In the corner of the room, something lurks in the shadows! You stare, | ||
| CF | but there is only the empty gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x outline" | ||
| CF ] Basement 5/182 | ||
| CF | > | ||
| CF | > X OUTLINE | ||
| CF | | ||
| CF | It's a series of straight lines roughly in the shape of a person lying | ||
| CF | on the floor, their legs and arms outstretched. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x shape" | ||
| CF ] Basement 5/182 | ||
| CF | > | ||
| CF | > X SHAPE | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Pinkunz asks, "That's enough missed swings from me. Anyone else have any ideas?" | |
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf3" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Basement 5/182 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "lie in outline" | ||
| CF ] Basement 5/182 | ||
| CF | > | ||
| CF | > LIE IN OUTLINE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Jacqueline asks, "What's in here with u?" | |
| DavidW says, "enter outline" | ||
| Jacqueline asks, "What's in here with us?" | ||
| Knight_Otu says (to ClubFloyd), "enter outline" | ||
| CF ] Basement 5/183 | ||
| CF | > | ||
| CF | > ENTER OUTLINE | ||
| CF | | ||
| CF | You stand inside the white outline. | ||
| CF | | ||
| CF | There seems to be movement in the dark. Something terrible is lurking. | ||
| CF | You swiftly turn towards it, but there is nothing there. | ||
| CF | | ||
| CF | > | Pinkunz says, "Possibly imagination." | |
| burl asks, "i think the thing in here with us might be autogenerated spoooookytext that happens in certain rooms?" | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Basement 5/184 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | You hear a moaning whispering noise coming from the ducts. You listen, | ||
| CF | but there is nothing. | ||
| CF | | ||
| CF | > | DavidW says, "yeah, that's atmospheric messages. You can usually ignore those." | |
| Pinkunz asks, "Only one exit/entrance?" | ||
| Knight_Otu says, "I think we're ready for the next room" | ||
| DavidW says, "They're happening a bit too often to be believable to me." | ||
| Pinkunz asks, "Crying wolf?" | ||
| Jacqueline says, "Well, there was also backstory about this from the guard." | ||
| Jacqueline says, "They don't patrol in here because they're so afraid." | ||
| Pinkunz asks, "How did we murder that other guard, btw?" | ||
| Jacqueline says, "We're supposed to be building an undead army, so I feel like there's maybe a ghost here that we need to make contact with." | ||
| Jacqueline says (to Pinkuz), "With a giant swinging axe" | ||
| Pinkunz grimaces. | ||
| Knight_Otu says, "And that was before we knew that our coworkers had been killed." | ||
| Jacqueline says, "Well... I think *we* knew." | ||
| Jacqueline says, "The PC was clueless, but I think we all know that coworker had not gone to visit their mom." | ||
| Knight_Otu says, "Was about to say that. Our protagonist wasa bit slower on the uptake." | ||
| Pinkunz asks, "Multiple personality disorder? The PC is actually the murderer without currently knowing it themselves?" | ||
| DavidW says, "We're just more 'genre savvy' than the average PC." | ||
| Knight_Otu says, "No, our director is a cult leader." | ||
| Knight_Otu says, "Probably the deaths were needed for a summoning ritual." | ||
| Pinkunz says, "I see." | ||
| burl says, "the unreliable narrator trope fits so well into this movie-style story though" | ||
| MoyTravis says, "Lie down in the outline." | ||
| Pinkunz says, "He already tried." | ||
| Knight_Otu says, "One of our co-actors was dissolved in acid and we accepted "That was just expensive SFX"." | ||
| MoyTravis says, "Oh, RIP." | ||
| Knight_Otu says (to ClubFloyd), "lie down" | ||
| CF ] Basement 5/184 | ||
| CF | > | ||
| CF | > LIE DOWN | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Pinkunz says, "Not mutually exclusive." | |
| Knight_Otu says, "Sometimes there might be one-use actions." | ||
| Knight_Otu says (to Pinkunz), "True." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/185 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | Next to the new graves is an old rusty wheelbarrow. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x scenery" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/186 | ||
| CF | > | ||
| CF | > X SCENERY | ||
| CF | | ||
| CF | The set backdrop is a painted city in front of wooded hills. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x tombs" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/187 | ||
| CF | > | ||
| CF | > X TOMBS | ||
| CF | | ||
| CF | The tombs, draped with vines and made from large blocks of painted | ||
| CF | foam, are of all different shapes and sizes. Some are painted in | ||
| CF | vibrant greens and reds. Each has a blocked up entrance - every tomb | ||
| CF | seems to hide forbidden secrets, walled in forever! | ||
| CF | | ||
| CF | > | burl asks, "can we take the wheelbarrow?" | |
| Knight_Otu says (to ClubFloyd), "open tombs" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/188 | ||
| CF | > | ||
| CF | > OPEN TOMBS | ||
| CF | | ||
| CF | The entrance to each tomb is securely walled up by huge painted blocks | ||
| CF | of foam. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/189 | ||
| CF | > | ||
| CF | > X WHEELBARROW | ||
| CF | | ||
| CF | The old and slightly rusty wheelbarrow wobbles along on its single | ||
| CF | wheel. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/190 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | MoyTravis says, "Gotta get a shovel and dig these babies up." | |
| Knight_Otu says, "I guess in a way." | ||
| Knight_Otu says (to ClubFloyd), "x graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/191 | ||
| CF | > | ||
| CF | > X GRAVES | ||
| CF | | ||
| CF | There are at least a dozen piles of, what looks like, real earth. None | ||
| CF | of them have gravestones. The earth is still moist - they look as if | ||
| CF | they were dug very recently indeed. | ||
| CF | | ||
| CF | > | MoyTravis says, "Hopefully, like, not literal babies." | |
| MoyTravis says, "Althought zombie babies attacking cultists is a funny mental image." | ||
| Knight_Otu says (to ClubFloyd), "x gravestones" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/192 | ||
| CF | > | ||
| CF | > X GRAVESTONES | ||
| CF | | ||
| CF | The gravestones, made impressively from painted modelling foam are | ||
| CF | mainly ornate crosses,. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x statues" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/193 | ||
| CF | > | ||
| CF | > X STATUES | ||
| CF | | ||
| CF | Most of the statues are hooded, their eyes hidden | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "dig graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/194 | ||
| CF | > | ||
| CF | > DIG GRAVES | ||
| CF | | ||
| CF | You have nothing to dig with. And surely, these are just piles of | ||
| CF | earth, not real graves. | ||
| CF | | ||
| CF | > | Pinkunz says, "I always thought a postapocalyptic Hollywood movie set was a missed opportunity for Fallout titles set on the west coast." | |
| burl says, ""surely"" | ||
| Knight_Otu says, "Protagonist..." | ||
| Jacqueline says, "hahaha" | ||
| MoyTravis says, "MC is denser than something that is very dense." | ||
| Knight_Otu says (to ClubFloyd), "x plants" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/195 | ||
| CF | > | ||
| CF | > X PLANTS | ||
| CF | | ||
| CF | The plastic vines dangle from the tombs, partially covering the | ||
| CF | blocked up entrances. | ||
| CF | | ||
| CF | > | Jacqueline says, "yeah. I am thinking they are so totally real graves" | |
| Knight_Otu says (to ClubFloyd), "climb vines" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/196 | ||
| CF | > | ||
| CF | > CLIMB VINES | ||
| CF | | ||
| CF | The vines are all firmly attached to the set. | ||
| CF | | ||
| CF | > | DavidW asks, "I hope we're not dragging the wheelbarrow before we have any use for it?" | |
| Knight_Otu says, "Aw." | ||
| Jacqueline says, "We are now on a quest for a shovel." | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/197 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Fill wheelbarrow with dirt?" | |
| DavidW says, "Like, the wheelbarrow will likely be used to cart a dead body somewhere." | ||
| Pinkunz says, "Probably not workable." | ||
| Knight_Otu says (to ClubFloyd), "fill wheelbarrow with dirt" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/197 | ||
| CF | > | ||
| CF | > FILL WHEELBARROW WITH DIRT | ||
| CF | | ||
| CF | You can't see any such thing. | ||
| CF | | ||
| CF | > | Pinkunz says, "Figured." | |
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/198 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | You can also see a wheelbarrow (with nothing in it) here. | ||
| CF | | ||
| CF | > | Knight_Otu says, "I guess we should go north to seek a shovel." | |
| Pinkunz says, "As an aside to that Fallout idea, you could have a hidden locked set that was a moon landing set, lol." | ||
| MoyTravis says, "We can get a set of armor and become Shovel Knight." | ||
| Pinkunz says, "Agreed regarding shovel." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/199 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Lying on the table and exuding an air of palpable menace, is a book, | ||
| CF | its cover completely black. | ||
| CF | | ||
| CF | Scattered across the table are small fragments of bone. | ||
| CF | | ||
| CF | Poking out from underneath the throne, you can see the top of an empty | ||
| CF | plastic bottle. | ||
| CF | | ||
| CF | A hand with sharp fingernails reaches out at you from the shadows! You | ||
| CF | quickly turn your head, but there is nothing there. | ||
| CF | | ||
| CF | > | burl says, "want to read the scary book, nothing bad will happen" | |
| Knight_Otu says (to ClubFloyd), "x masks" | ||
| CF ] Voodoo Temple 5/200 | ||
| CF | > | ||
| CF | > X MASKS | ||
| CF | | ||
| CF | The masks line the walls, seeming to leer at you unpleasantly. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Save?" | |
| Knight_Otu says (to ClubFloyd), "x throne" | ||
| CF ] Voodoo Temple 5/201 | ||
| CF | > | ||
| CF | > X THRONE | ||
| CF | | ||
| CF | The horrible carvings on the throne seem to writhe and change under | ||
| CF | your gaze! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf4" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Voodoo Temple 5/201 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x table" | ||
| CF ] Voodoo Temple 5/202 | ||
| CF | > | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | Inscribed onto the top of the table is a five pointed star! | ||
| CF | | ||
| CF | On the black table are a black book and the bones of fate. | ||
| CF | | ||
| CF | A terrible presence brushes past you, ruffling your hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x star" | ||
| CF ] Voodoo Temple 5/203 | ||
| CF | > | ||
| CF | > X STAR | ||
| CF | | ||
| CF | Inscribed onto the top of the table is a five pointed star! | ||
| CF | | ||
| CF | On the black table are a black book and the bones of fate. | ||
| CF | | ||
| CF | The back of your neck prickles. For a moment, you think someone is | ||
| CF | sitting in the throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x book" | ||
| CF ] Voodoo Temple 5/204 | ||
| CF | > | ||
| CF | > X BOOK | ||
| CF | | ||
| CF | The black book seems to have something terrible and ancient and evil | ||
| CF | about it! You would need to take it to get a better look. | ||
| CF | | ||
| CF | A terrible presence brushes past you, ruffling your hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] Voodoo Temple 5/205 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | As you pick up the book, you swear you can hear horrific laughter | ||
| CF | coming from all around you! It's cold in your hands, like ice, and it | ||
| CF | seems to throb with a powerful malevolence! | ||
| CF | | ||
| CF | The back of your neck prickles. For a moment, you think someone is | ||
| CF | sitting in the throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read it" | ||
| CF ] Voodoo Temple 5/206 | ||
| CF | > | ||
| CF | > READ IT | ||
| CF | | ||
| CF | You cautiously open the cover of the book. The pages inside are | ||
| CF | yellowed and ancient and marked with mould. It seems to be a book of | ||
| CF | black magic! According to the title page, the book is called "Malleus | ||
| CF | Malum Habentis Mortem" - whatever that means. You can't understand | ||
| CF | most of it, and much of it is so faded and stained that you can't read | ||
| CF | it, but flicking through, there are a few pages you can make out. | ||
| CF | | ||
| CF | One page is titled "Summon," another "Raise Dead" and a third is | ||
| CF | "Banish". You could probably READ each of these pages. Read Summon, | ||
| CF | for example. | ||
| CF | | ||
| CF | > | Jacqueline says, "I feel like the ghostly brushes are getting more intense here." | |
| burl says, "agreed. also i wonder if you put the bones in the bottle to throw them" | ||
| Knight_Otu says (to ClubFloyd), "read banish" | ||
| CF ] Voodoo Temple 5/207 | ||
| CF | > | ||
| CF | > READ BANISH | ||
| CF | | ||
| CF | The page is titled "For the Banishing of thee most Persistent of | ||
| CF | Spirits and Entrapping them in a Thing of Power". The lengthy text | ||
| CF | begins "To banish a spirit it must be named, for it is the truth that | ||
| CF | a name is a thing of power, and an object of satanic power may be | ||
| CF | entrusted to hold a dreadful spirit and the most powerful of these | ||
| CF | things to hold many...." and then it goes on for the rest of the page | ||
| CF | with a whole bunch of terrible warnings which you can't be bothered to | ||
| CF | read. | ||
| CF | | ||
| CF | According to the instructions at the end, you make a complicated | ||
| CF | gesture with your fingers, then you're supposed to repeat "Spiritus | ||
| CF | replebatur!" and yell the spirit's name three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this banish | ||
| CF | spell if you had a mind to. (To cast a spell, just CAST the spell | ||
| CF | by name. CAST BANISH for example.) | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read summon" | ||
| CF ] Voodoo Temple 5/208 | ||
| CF | > | ||
| CF | > READ SUMMON | ||
| CF | | ||
| CF | The page is titled "For the Summoning of thee most evil Spirits in | ||
| CF | Darkness and Power". The lengthy text begins "Although in this life | ||
| CF | thee may have strength in thy limbs and heart, only in the presence of | ||
| CF | an object of satanic power can thee summon the most dreadful of | ||
| CF | spirits...." and then it goes on for ages. Just a bunch of dire | ||
| CF | warnings which you can't be bothered to read. | ||
| CF | | ||
| CF | According to the instructions at the end, you make three "sinistrus" | ||
| CF | turns around the room, wave your hands about in three complicated | ||
| CF | gestures, then you're supposed to say a whole passage of latin | ||
| CF | mumbo-jumbo, ending with "exspiravit, esto subjecto voluntati meae!" | ||
| CF | repeated three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this summon | ||
| CF | spell if you had a mind to. | ||
| CF | | ||
| CF | The drapes seem to bulge and ripple with an unseen wind, but you look | ||
| CF | closely and they are still. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read raise dead" | ||
| CF ] Voodoo Temple 5/209 | ||
| CF | > | ||
| CF | > READ RAISE DEAD | ||
| CF | | ||
| CF | The page is titled "For thee Raising of most real Bodies of the Dead | ||
| CF | from their dreadful Eternal Sleep under goode Earth". The dense text | ||
| CF | begins "And only by the power of blood upon the soil under which these | ||
| CF | bodies are interred, can this spell be successful, for without the | ||
| CF | blood of a human in thee earth there shall be no link to this life to | ||
| CF | which the dead can make their own..." and then it's just warning after | ||
| CF | dire warning and you lose interest. | ||
| CF | | ||
| CF | According to the instructions at the end, you simply say "Mortuos | ||
| CF | surgere et e sepulcris!" really loudly three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this raise | ||
| CF | dead spell if you had a mind to. | ||
| CF | | ||
| CF | > | DavidW says, "I think you found your 'shovel' there." | |
| Knight_Otu says, "Yeah." | ||
| Knight_Otu says (to ClubFloyd), "x bones" | ||
| CF ] Voodoo Temple 5/210 | ||
| CF | > | ||
| CF | > X BONES | ||
| CF | | ||
| CF | There are about twelve of the small bone fragments, of all different | ||
| CF | shapes and sizes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get them" | ||
| CF ] Voodoo Temple 5/210 | ||
| CF | > | ||
| CF | > GET THEM | ||
| CF | | ||
| CF | I'm not sure what 'them' refers to. | ||
| CF | | ||
| CF | > | Pinkunz says, "The title of the book is Latin for "Evil Hammer."" | |
| DavidW says, "Roll or throw the bones." | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/211 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | A terrible presence brushes past you, ruffling your hair. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x bottle" | ||
| CF ] Voodoo Temple 5/212 | ||
| CF | > | ||
| CF | > X BOTTLE | ||
| CF | | ||
| CF | The bottle looks like it used to contain strawberry milk. At least | ||
| CF | that's what the label says. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get it" | ||
| CF ] Voodoo Temple 5/213 | ||
| CF | > | ||
| CF | > GET IT | ||
| CF | | ||
| CF | You snag the bottle from underneath the throne. According to the | ||
| CF | label, it used to contain strawberry milk. But now it's empty, which | ||
| CF | is a shame. You bet this was Gemma's drink! She loved this stuff - she | ||
| CF | was always getting told off for bringing drinks and food onto set. | ||
| CF | | ||
| CF | > | burl says, "the book title translates to "the hammer of an apple that has a dead body" i don't fully trust this translation tool" | |
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Voodoo Temple 5/214 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | You swear one of the carved figures in the alcoves turns its head to | ||
| CF | look at you, but no, surely not! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x drapes" | ||
| CF ] Voodoo Temple 5/215 | ||
| CF | > | ||
| CF | > X DRAPES | ||
| CF | | ||
| CF | Clashing a little with the rest of the scenery, the drapes are | ||
| CF | brightly colored and woven with attractive patterns. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x skulls" | ||
| CF ] Voodoo Temple 5/216 | ||
| CF | > | ||
| CF | > X SKULLS | ||
| CF | | ||
| CF | They're obviously not real skulls. They look like they've been bought | ||
| CF | wholesale from some novelty store. | ||
| CF | | ||
| CF | > | Jacqueline says (to Pinkunz), "I think it's more like Evil Hammer of the One Who Brings Death or something along those lines" | |
| Knight_Otu asks, "Obviously? You sure, protagonist?" | ||
| Jacqueline says, "Obviously" | ||
| Knight_Otu says (to ClubFloyd), "x alcoves" | ||
| CF ] Voodoo Temple 5/217 | ||
| CF | > | ||
| CF | > X ALCOVES | ||
| CF | | ||
| CF | Crudely carved, but with an air of real menace, the figurines seem to | ||
| CF | guard the room. | ||
| CF | | ||
| CF | A hand with sharp fingernails reaches out at you from the shadows! You | ||
| CF | quickly turn your head, but there is nothing there. | ||
| CF | | ||
| CF | > | Jacqueline says, "More like 'bought wholesale off the black market'" | |
| Pinkunz says (to jacq), "Fair. I used Google Translate. Latin isn't taught in secondary anymore." | ||
| Jacqueline exclaims, "You got the first part right!" | ||
| Knight_Otu says (to ClubFloyd), "x candles" | ||
| CF ] Voodoo Temple 5/218 | ||
| CF | > | ||
| CF | > X CANDLES | ||
| CF | | ||
| CF | Glued in place, the candles aren't even real! You think they might be | ||
| CF | made out of plastic. | ||
| CF | | ||
| CF | You think you hear terrible hollow cackling laughter, but it must just | ||
| CF | be your imagination. | ||
| CF | | ||
| CF | > | burl says, "still better than translate dot com" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/219 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | In the centre of the Bayou, emerging from a small grassy knoll and | ||
| CF | giving off an aura of evil power, is a sacred voodoo stone! | ||
| CF | | ||
| CF | You were an extra on this set! | ||
| CF | | ||
| CF | They had needed a crowd of worshippers while they filmed the ritual | ||
| CF | scene. There had been some chanting and you were supposed to wave your | ||
| CF | arms about a bit. You hadn't really paid much attention to what was | ||
| CF | going on. After all, you are a lead actor. It's a bit rich asking you | ||
| CF | to do extra work! Everyone else had gotten pretty into it, though - | ||
| CF | swaying and chanting, their eyes fixed on the stone. Great commitment | ||
| CF | to their roles, you suppose. | ||
| CF | | ||
| CF | You had been standing next to Gemma Bellerton, your friend who was | ||
| CF | playing one of the Voodoo priestesses in the film. Gemma hadn't been | ||
| CF | happy. She was supposed to be filming the possession sequence later in | ||
| CF | the day, but there had been delays. "They told me it was something | ||
| CF | technical," she had said. "But I can't imagine what." | ||
| CF | | ||
| CF | Something awful and dark hovers for a moment above the stone! No. | ||
| CF | There's nothing there. Just your own fears. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x stone" | ||
| CF ] Deep in the Bayou 5/220 | ||
| CF | > | ||
| CF | > X STONE | ||
| CF | | ||
| CF | The stone, carved with horrible organic figures, seems to be | ||
| CF | surrounded by an aura of pure evil power! | ||
| CF | | ||
| CF | > | Jacqueline says, "'great commitment to their roles'" | |
| Knight_Otu says, "Our protagonist is still rather naive." | ||
| Pinkunz says, "Same could be said for acid boy mentioned earlier." | ||
| Jacqueline says, "I suspect the protagonist will remain so... but it would be interesting if they evolved to become less gullible." | ||
| MoyTravis says, "Look it took, like, dozens of takes to get him to say his line in the intro." | ||
| MoyTravis says, "Maybe he's just not super bright." | ||
| DavidW says, "Make a note of Gemma's name. Banishing by name is important." | ||
| Pinkunz says, "It's like the actually fed Quint to a shark for the realism and production value." | ||
| burl says, "it makes me think of scary movies where you yell at the protagonist not to go into the basement alone" | ||
| Pinkunz asks, "Get stone?" | ||
| Knight_Otu says (to ClubFloyd), "get stone" | ||
| CF ] Deep in the Bayou 5/221 | ||
| CF | > | ||
| CF | > GET STONE | ||
| CF | | ||
| CF | You just about manage to pick the stone up, but it's far too heavy to | ||
| CF | carry about, so you drop it onto the floor again! | ||
| CF | | ||
| CF | > | DavidW says, "oh. Wheelbarrow *that* somewhere." | |
| Pinkunz says, "Hmm" | ||
| Knight_Otu nods. | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/222 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | You swear one of the carved figures in the alcoves turns its head to | ||
| CF | look at you, but no, surely not! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/223 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | You can also see a wheelbarrow (with nothing in it) here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/224 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/225 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/226 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | In the centre of the Bayou, emerging from a small grassy knoll and | ||
| CF | giving off an aura of evil power, is a sacred voodoo stone! | ||
| CF | | ||
| CF | > | DavidW says, "WE . DONT . KNOW . WHERE . TO . MOVE . IT . TO . YET." | |
| burl asks, "DW you're not excited about lugging a wheelbarrow from room to room?" | ||
| Knight_Otu says, "Not too many places to put it. I rather suspect the graveyard." | ||
| Pinkunz asks, "Obviously. We're sort of like Homer just blindly pressing buttons in the Nuclear Control room at this point, no?" | ||
| DavidW says, "I don't want my hands full of wheelbarrow when the monster attacks, no." | ||
| Knight_Otu says (to ClubFloyd), "put stone in wheelbarrow" | ||
| CF ] Deep in the Bayou 5/227 | ||
| CF | > | ||
| CF | > PUT STONE IN WHEELBARROW | ||
| CF | | ||
| CF | (first taking the sacred voodoo stone) | ||
| CF | It's too heavy to carry, but fortunately you have a wheelbarrow! With | ||
| CF | a grunt of effort, you manage to get the stone into the barrow. | ||
| CF | | ||
| CF | > | burl says, "haha including the literal big red button (which may or may not have done anything)" | |
| Pinkunz asks, "Leave the wheelbarrow in the Bayou for now?" | ||
| DavidW says, "sure" | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] Deep in the Bayou 5/228 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | Ice creeps down your spine as you see a shadowy figure amongst the | ||
| CF | roots of a tree trunk! You look closely, but there is nothing there. | ||
| CF | Just the shadows. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x plants" | ||
| CF ] Deep in the Bayou 5/229 | ||
| CF | > | ||
| CF | > X PLANTS | ||
| CF | | ||
| CF | The plants are obviously designed to float when the bayou is filled | ||
| CF | with water. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x trees" | ||
| CF ] Deep in the Bayou 5/230 | ||
| CF | > | ||
| CF | > X TREES | ||
| CF | | ||
| CF | Quite literally, just the trunks of enormous trees. Each painted tree | ||
| CF | trunk, carved from blocks of foam, has thick roots coming out of the | ||
| CF | Bayou, extends from the floor for about three metres, and then ends | ||
| CF | suddenly. They're only built for close-ups. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dip" | ||
| CF ] Deep in the Bayou 5/231 | ||
| CF | > | ||
| CF | > X DIP | ||
| CF | | ||
| CF | The dip is only about six inches deep. When it's filled with water and | ||
| CF | has a few plastic plants floating in it, you suppose iit does look a | ||
| CF | bit like a swampy bayou. | ||
| CF | | ||
| CF | > | Pinkunz says, "Take Plants? If they float, they might not be attached. Then again, the author might not have thought about that." | |
| Knight_Otu says (to ClubFloyd), "take plants" | ||
| CF ] Deep in the Bayou 5/232 | ||
| CF | > | ||
| CF | > TAKE PLANTS | ||
| CF | | ||
| CF | They are firmly fixed to the floor. | ||
| CF | | ||
| CF | A whispering in your ears! You turn around in shock, but there's | ||
| CF | nothing behind you. | ||
| CF | | ||
| CF | > | Pinkunz says, "Meh." | |
| burl says, "i wonder if that text is a subtle hint about an eventual water-filling puzzle" | ||
| Knight_Otu says, "It could be." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/233 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | You can't go that way. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Deep in the Bayou 5/234 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | You can see a wheelbarrow (which contains a sacred voodoo stone) here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/235 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | You're sure you can hear a low moaning, as if someone is in pain, but | ||
| CF | you listen and all you can hear is the quiet of the studio. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Have we gone south from here?" | |
| Knight_Otu says, "Text mentions the wrong direction." | ||
| Knight_Otu says, "Yeah, we've looped." | ||
| Pinkunz says, "Yeah, mentions east, then disallows east from bayou." | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/236 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | There's a movement in one of the mirrors! You look, quickly, but | ||
| CF | there's nothing. | ||
| CF | | ||
| CF | > | Pinkunz says, "Nvm." | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/237 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | There's something moving in one of the windows! You turn your head, | ||
| CF | but there's nothing there. | ||
| CF | | ||
| CF | > | DavidW says, "I never saw the guard room" | |
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Guard's Break Room 5/238 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Guard's Break Room | ||
| CF | Someone has carved out a comfortable nook in this little space in | ||
| CF | between the door and the studio proper. There's a small table next to | ||
| CF | a comfy chair in one corner and on the table is a lit lamp, creating a | ||
| CF | welcoming pool of light in the gloom. A dingy gap in the wall to the | ||
| CF | east leads deeper into the studio and the door out to the lot, to the | ||
| CF | west, lies open. | ||
| CF | | ||
| CF | A Security Guard sits in the chair, feet up on the small table, | ||
| CF | reading a newspaper. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to guard" | ||
| CF ] Guard's Break Room 5/239 | ||
| CF | > | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | "What's up?" says the Guard. | ||
| CF | | ||
| CF | (1) - "Aren't you supposed to be on patrol?" | ||
| CF | (2) - "Tell me more about what's in the studio." | ||
| CF | (3) - "Are you going to stop me going in?" | ||
| CF | (4) - "You worked here long?" | ||
| CF | (5) - "Goodbye." | ||
| CF | | ||
| CF | You say > | Knight_Otu says, "Nothing new here." | |
| DavidW says, "Guard might stop us from taking things from the set." | ||
| Pinkunz says (to David), "The dialogue options don't branch. That's it." | ||
| Pinkunz says, "He certainly stops you from taking the lamp." | ||
| Knight_Otu says, "Or be a snack for whatever undead we bring from here." | ||
| Knight_Otu says (to ClubFloyd), "5" | ||
| CF ] Guard's Break Room 5/239 | ||
| CF | You say > | ||
| CF | > 5 | ||
| CF | | ||
| CF | The Guard smiles at you. "Good luck!" | ||
| CF | | ||
| CF | > | DavidW asks, "no GET LAMP?" | |
| Pinkunz says, "Nope." | ||
| Knight_Otu says, "No GET LAMP, sadly." | ||
| Pinkunz says, "I wonder if the guard would react to us wheeling the stone statue in." | ||
| Knight_Otu says, "She needs it to read." | ||
| DavidW says (to ClubFloyd), "x newspaper" | ||
| CF ] Guard's Break Room 5/240 | ||
| CF | > | ||
| CF | > X NEWSPAPER | ||
| CF | | ||
| CF | It's a red top. In the low light, you can just make out the headline | ||
| CF | on the front page - "Actor missing after police search". | ||
| CF | | ||
| CF | > | burl says, "there's got to be an eventual way to get guard to go elsewhere though, lamps are never not goals" | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Alleway, Rue des Verrièrs 5/241 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/242 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | You can see a wheelbarrow (which contains a sacred voodoo stone) here. | ||
| CF | | ||
| CF | You feel a terrible presence focussing all its hate and anger on you! | ||
| CF | | ||
| CF | > | Knight_Otu says, "I suspect there are no monsters here to attack us until we summon/raise them. Just an evil presence tormenting us." | |
| DavidW says, "I suppose we could try to cast raise dead at the graves." | ||
| MoyTravis says, "It's a very tame manner of tormenting, really." | ||
| Jacqueline says, "When are we gonna raise-- yeah. Let's do it." | ||
| MoyTravis asks, "Banish Gemma?" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/243 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | You think you hear terrible hollow cackling laughter, but it must just | ||
| CF | be your imagination. | ||
| CF | | ||
| CF | > | Pinkunz asks, "I get turned around easily. Have we gone south from the bayou yet?" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/244 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | burl says, "yes! time to wake the very special effects" | |
| Knight_Otu says, "Yeah, we did come from the south." | ||
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/245 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There seems to be something missing. | ||
| CF | | ||
| CF | > | DavidW says, "There's just the 6 rooms plus the guard room." | |
| DavidW says, "ok, bring the damn voodoo stone here." | ||
| Pinkunz says (to David), "Thank you." | ||
| burl asks, "maybe we need to plop the dead that are already found into the graves?" | ||
| Knight_Otu says, "To be fair, people can get turned around in mich smaller spaces." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/246 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/247 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | You can see a wheelbarrow (which contains a sacred voodoo stone) here. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] Deep in the Bayou 5/248 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/249 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | The back of your neck prickles. For a moment, you think someone is | ||
| CF | sitting in the throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/250 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "drop wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/251 | ||
| CF | > | ||
| CF | > DROP WHEELBARROW | ||
| CF | | ||
| CF | You let go of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | Pinkunz says, "I usually draw a map, but I didn't bother because I knew the game was already in progress." | |
| Knight_Otu says (to ClubFloyd), "cast raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/252 | ||
| CF | > | ||
| CF | > CAST RAISE DEAD | ||
| CF | | ||
| CF | You go through the incantation, but the raise dead spell does nothing. | ||
| CF | There seems to be something missing. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "read raise dead" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/253 | ||
| CF | > | ||
| CF | > READ RAISE DEAD | ||
| CF | | ||
| CF | The page is titled "For thee Raising of most real Bodies of the Dead | ||
| CF | from their dreadful Eternal Sleep under goode Earth". The dense text | ||
| CF | begins "And only by the power of blood upon the soil under which these | ||
| CF | bodies are interred, can this spell be successful, for without the | ||
| CF | blood of a human in thee earth there shall be no link to this life to | ||
| CF | which the dead can make their own..." and then it's just warning after | ||
| CF | dire warning and you lose interest. | ||
| CF | | ||
| CF | According to the instructions at the end, you simply say "Mortuos | ||
| CF | surgere et e sepulcris!" really loudly three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this raise | ||
| CF | dead spell if you had a mind to. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x bottle" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/254 | ||
| CF | > | ||
| CF | > X BOTTLE | ||
| CF | | ||
| CF | The bottle looks like it used to contain strawberry milk. At least | ||
| CF | that's what the label says. | ||
| CF | | ||
| CF | > | Jacqueline asks, "We have a stained robe, right?" | |
| Jacqueline says, "It's stained with blood." | ||
| Knight_Otu says (to ClubFloyd), "remove robe" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/255 | ||
| CF | > | ||
| CF | > REMOVE ROBE | ||
| CF | | ||
| CF | You aren't wearing the stained crimson robe. | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh, gotta spill it on the soil, though." | |
| Knight_Otu says (to ClubFloyd), "put robe on graves" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/256 | ||
| CF | > | ||
| CF | > PUT ROBE ON GRAVES | ||
| CF | | ||
| CF | Putting things on the freshly dug graves would achieve nothing. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "wring robe" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/256 | ||
| CF | > | ||
| CF | > WRING ROBE | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | Pinkunz asks, "anything to cut ourselves with?" | |
| Jacqueline says, "Our vampire friends probably have some blood on hand." | ||
| Pinkunz asks, "Crucifix maybe?" | ||
| Knight_Otu says (to ClubFloyd), "cut me" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/257 | ||
| CF | > | ||
| CF | > CUT ME | ||
| CF | | ||
| CF | Cutting you up would achieve little. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf5" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] The Cemetery of St. Louise de Marillac 5/257 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | burl says, "do we know if the graves are empty or full" | |
| Pinkunz shrugs. | ||
| DavidW asks, "Cutting ourselves this early?" | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/258 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You go through the incantation, but the summon spell does nothing. You | ||
| CF | feel the power of the stone flow through you, but there are no unquiet | ||
| CF | spirits here to summon. | ||
| CF | | ||
| CF | > | Roger says, "maybe we can wheelbarrow over that dead guard we kilt" | |
| Knight_Otu says (to ClubFloyd), "get wheelbarrow" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/259 | ||
| CF | > | ||
| CF | > GET WHEELBARROW | ||
| CF | | ||
| CF | You grab hold of the wheelbarrow's handles. | ||
| CF | | ||
| CF | > | burl says, "or acid boy" | |
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Voodoo Temple 5/260 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | The drapes seem to bulge and ripple with an unseen wind, but you look | ||
| CF | closely and they are still. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Voodoo Temple 5/261 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You nervously follow the instructions in the black magic book. As soon | ||
| CF | as you finish, the sacred stone pulses with a terrible power and the | ||
| CF | air seems to tingle. Gradually, a shape coalesces in the centre of the | ||
| CF | set. It's a ghost! It's the ghost of a old woman wearing ragged black | ||
| CF | clothing! Wait. Hang on a moment. That's not an old woman. That's | ||
| CF | Gemma Bellerton in her Voodoo priestess costume and make-up! | ||
| CF | | ||
| CF | Gemma sits in the wooden throne with a sigh of satisfaction. | ||
| CF | | ||
| CF | > | DavidW says, "it's possible that we need things from other sets." | |
| Jacqueline says (to DW), "Yeah, I was surprised how quickly Pinkunz went to 'let us slice ourselves open and bleed on the soil ourselves' haha" | ||
| Knight_Otu says (to ClubFloyd), "talk to gemma" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | > | ||
| CF | > TALK TO GEMMA | ||
| CF | | ||
| CF | "Gemma?" you say. "Is that you?" | ||
| CF | | ||
| CF | "Ah ain't no Gemma," begins the spirit with a harsh cackle. But then | ||
| CF | she stops as if confused and shakes her head. "Or maybe I am." It's | ||
| CF | Gemma's voice! "I'm not sure anymore," she continues, "she's trying to | ||
| CF | get in. I don't have long." | ||
| CF | | ||
| CF | (1) - "Who's trying to get in? | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Oh no!" you say. "Who's trying to get in, Gemma?" | ||
| CF | | ||
| CF | "It's her spirit," replies Gemma. "The old one. She's got a story to | ||
| CF | finish and she won't stop till it's done. I can't hold her off for | ||
| CF | long. She's stronger than me." | ||
| CF | | ||
| CF | "I sure am," says Gemma, and her voice has changed into a hoarse | ||
| CF | croak. "You ain't never gonna...." Gemma shakes her head once more. | ||
| CF | "Give me a few minutes," she says plaintively in her normal voice | ||
| CF | again, "it's not as though we're going anywhere." | ||
| CF | | ||
| CF | "Well hurry it up girl," she says croakily once more, "I got things to | ||
| CF | be doing." | ||
| CF | | ||
| CF | (1) - "Is there anything I can do to help?" | ||
| CF | (2) - "What happened to you?" | ||
| CF | (3) - "What story?" | ||
| CF | | ||
| CF | You say > | Pinkunz says, "I'm nothing if not pragmatic." | |
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "Is there anything I can do to help?" you ask. | ||
| CF | | ||
| CF | "Help them," replies Gemma, earnestly. "They're stuck. She's stuck. | ||
| CF | They can't get out. They were brought here with the job lot of scenery | ||
| CF | stuff Mallet Studios bought cheap from an estate sale. If you help | ||
| CF | them, you can free them." | ||
| CF | | ||
| CF | She seems to be struggling to stay in control. | ||
| CF | | ||
| CF | (1) - "What happened to you?" | ||
| CF | (2) - "How can I help them?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What happened to you?" you ask. | ||
| CF | | ||
| CF | "Huh," says Gemma. "Remember that ritual scene I was in where my | ||
| CF | character's soul was sucked into the very depths of hell? Turns out it | ||
| CF | wasn't just a made up thing. As soon as I'd got done, my soul was | ||
| CF | sucked into the very depths of hell. Fortunately, I met the old one | ||
| CF | and she brought me back so I could finish her story. Good job, too. | ||
| CF | Astaroth was waiting down there and he was not in a good mood." | ||
| CF | | ||
| CF | She shakes her head. She seems to be struggling to stay in control. | ||
| CF | | ||
| CF | (1) - "What story?" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | "What's all this about a story and helping them?" you ask. | ||
| CF | | ||
| CF | "I just know that she's stuck," replies Gemma. "She needs you to | ||
| CF | finish their story, but time's not the same for them. They don't | ||
| CF | always go through it in order like we do. If they're not at the same | ||
| CF | point in time, then they can't see each other. The bones can help. | ||
| CF | Throw the bones. That's all she'll let me say." | ||
| CF | | ||
| CF | Gemma's face changes suddenly. It seems to become much older. "That's | ||
| CF | enough of that," she says, her voice as old and dusty as a desert. | ||
| CF | "You know what you need to do. I know what you need. You finish mah | ||
| CF | story and there will be a reward in this world for you." | ||
| CF | | ||
| CF | She cackles long and loud until she subsides in a fit of coughing. | ||
| CF | | ||
| CF | (1) - "Goodbye" | ||
| CF | | ||
| CF | You say > | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/262 | ||
| CF | You say > | ||
| CF | > 1 | ||
| CF | | ||
| CF | The Priestess seems to lose interest in you, as if you are not there. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "x bones" | ||
| CF ] Voodoo Temple 5/263 | ||
| CF | > | ||
| CF | > X BONES | ||
| CF | | ||
| CF | There are about twelve of the small bone fragments, of all different | ||
| CF | shapes and sizes. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/264 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A woman | ||
| CF | dances with her husband. A soldier strides into a ballroom. A young | ||
| CF | woman in the shadows watches a child play. A child greets his mother | ||
| CF | in a shadowy alleyway. | ||
| CF | | ||
| CF | > | Pinkunz asks, "As an actor, do you have to act your way out of this?" | |
| Pinkunz asks, "Bit on the nose?" | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/265 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/266 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Deep in the Bayou 5/267 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You follow the instructions in the black magic book as closely as you | ||
| CF | can. As soon as you finish, the sacred stone pulses with a terrible | ||
| CF | power and the air seems to tingle. Gradually, a shape coalesces on the | ||
| CF | grassy knoll. It's a ghost! It's the ghost of a middle aged man | ||
| CF | wearing an old-style army uniform! | ||
| CF | | ||
| CF | The ghostly spirit stands in the centre of the grass, one hand on the | ||
| CF | cutlass at his side. He stares off into the distance, as if unsure | ||
| CF | where to go. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to man" | ||
| CF ] Deep in the Bayou 5/268 | ||
| CF | > | ||
| CF | > TALK TO MAN | ||
| CF | | ||
| CF | "Pleased to make your acquaintance," says the ghost in clipped | ||
| CF | military tones. "Colonel Phillipe Meribeaux at your service. Ah am not | ||
| CF | sure why you would want to be in this forsaken place, but as for | ||
| CF | myself, ah am just passing through. If you would excuse me, ah must | ||
| CF | get to the governor's mansion where my wife awaits at the Centenary | ||
| CF | ball. But it has been so many years since I was home that ah am quite | ||
| CF | unsure of my bearings." | ||
| CF | | ||
| CF | He nods sharply in your direction, as if dismissing you, then it's | ||
| CF | like you aren't there, and he continues to stare off into the | ||
| CF | distance. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/269 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | The hairs on your neck stand up as if something awful is behind you! | ||
| CF | You turn around quickly, but the alleway is empty. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/270 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You carry out the instructions in the black magic book to a tee. As | ||
| CF | soon as you finish, the sacred stone pulses with a terrible power and | ||
| CF | the air seems to tingle. Gradually, a shape coalesces in the centre of | ||
| CF | the set. It's a ghost! It's the ghost of a dark haired child wearing | ||
| CF | an old fashioned short trousered suit! | ||
| CF | | ||
| CF | The ghostly child seems to be playing a game on his own, skipping | ||
| CF | around in a circle in front of the houses, and counting under his | ||
| CF | breath. Occasionally, he glances along the alleyway anxiously, as if | ||
| CF | he is waiting for someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/271 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | The hairs on your neck raise. You swear you are being watched. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/272 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You carry out the instructions in the black magic book to the letter. | ||
| CF | As soon as you finish, the sacred stone pulses with a terrible power | ||
| CF | and the air seems to tingle. Gradually, a shape coalesces in the | ||
| CF | centre of the set. It's a ghost! It's the ghost of a middle aged | ||
| CF | woman wearing a huge pink dress! | ||
| CF | | ||
| CF | The ghostly woman paces elegantly back and forth in the centre of the | ||
| CF | ballroom, fanning herself with a brightly coloured fan. She seems to | ||
| CF | be looking for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/273 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "Well now, if you ain't the cutest little thing ah evah did see," says | ||
| CF | the spirit, absently. "Clarissa Meribeaux. Pleased to make your | ||
| CF | acquaintance, I am sure." | ||
| CF | | ||
| CF | She seems agitated in some way, wringing her hands together and | ||
| CF | glancing nervously out of the set. "Ah, simply cannot converse with | ||
| CF | you now, sugar," she continues. "Ah need to meet mah husband, just | ||
| CF | home from the war, here at the ball. Ah'm sure I cannot say where he | ||
| CF | has got to. That man is gonna be the death of me." | ||
| CF | | ||
| CF | She turns away from you, and continues to look around the set as if | ||
| CF | searching for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/274 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/275 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You follow the instructions in the black magic book as closely as you | ||
| CF | can. As soon as you finish, the sacred stone pulses with a terrible | ||
| CF | power and the air seems to tingle. Gradually, a shape coalesces in the | ||
| CF | shadows of the set. It's a ghost! It's the ghost of a young woman | ||
| CF | wearing a long white dress! | ||
| CF | | ||
| CF | There's something else! Behind the young woman something dark and | ||
| CF | viscous is dripping down the wall of the set. You look closely. It | ||
| CF | seems to be blood! The walls of the basement are weeping blood! | ||
| CF | | ||
| CF | The spirit steps back further into the shadows, her pale face hidden | ||
| CF | behind a curtain of dark hair. | ||
| CF | | ||
| CF | > | Jacqueline says, "Yay blood" | |
| Jacqueline says, "We need some" | ||
| Jacqueline says, "Get it" | ||
| MoyTravis exclaims, "blood!" | ||
| Knight_Otu says (to ClubFloyd), "put blood in bottle" | ||
| CF ] Basement 5/276 | ||
| CF | > | ||
| CF | > PUT BLOOD IN BOTTLE | ||
| CF | | ||
| CF | (the dripping blood in the strawberry milk bottle) | ||
| CF | Distastefully, you manage to fill the milk bottle with blood. | ||
| CF | | ||
| CF | > | Jacqueline says, "woo" | |
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] Basement 5/277 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "They done me wrong," she whispers, although it's hard to make out the | ||
| CF | words. "They done me wrong and poor Evangeline ain't seen her boy for | ||
| CF | too long. Ah need to see mah boy. They won't let me see him and ah | ||
| CF | done everything they said." | ||
| CF | | ||
| CF | She retreats back into the shadows, hiding behind her curtain of hair. | ||
| CF | | ||
| CF | > | DavidW says, "Moving a bit fast for decent note-taking." | |
| Knight_Otu says, "Sorry." | ||
| Pinkunz says, "I know it won't advance the plot, but the morbid bit of me wonders if drinking the blood was implemented." | ||
| DavidW says, "I think before doing anything with the blood, we need to renact the scenes from the bone vision." | ||
| Pinkunz says (to David), "Agreed." | ||
| DavidW says, "er re-enact" | ||
| Knight_Otu nods. | ||
| Pinkunz says, "Re-agreed." | ||
| DavidW asks, "so, can we take Philippe or ask him to follow us?" | ||
| Knight_Otu says (to ClubFloyd), "woman, follow me" | ||
| CF ] Basement 5/278 | ||
| CF | > | ||
| CF | > WOMAN, FOLLOW ME | ||
| CF | | ||
| CF | The spirit is as insubstantial as air. She ignores you completely as | ||
| CF | if you are not there. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "spirit, n" | ||
| CF ] Basement 5/279 | ||
| CF | > | ||
| CF | > SPIRIT, N | ||
| CF | | ||
| CF | Evangeline, a wronged young woman has better things to do. | ||
| CF | | ||
| CF | > | DavidW says, "He's in the bayou, not here." | |
| Pinkunz says, "Soldier dude to flirty ballroom lady." | ||
| Knight_Otu says, "Yeah, but Evangeline needs to go north to her child." | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/280 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa Meribeaux paces elegantly back | ||
| CF | and forth, fanning herself with a brightly coloured fan. She seems to | ||
| CF | be looking for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/281 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/282 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring | ||
| CF | off into the distance. | ||
| CF | | ||
| CF | > | Pinkunz says, "Or the child needs to go south to his momma." | |
| Knight_Otu says (to ClubFloyd), "take phillipe" | ||
| CF ] Deep in the Bayou 5/283 | ||
| CF | > | ||
| CF | > TAKE PHILLIPE | ||
| CF | | ||
| CF | His spirit is as insubstantial as air. He ignores you completely as if | ||
| CF | you are not there. | ||
| CF | | ||
| CF | > | Knight_Otu asks, "The vision was the mother watching the child in the alleys, wasit not?" | |
| Pinkunz says, "Yeah, the basement wasn't mentioned." | ||
| Pinkunz says, "My bad." | ||
| DavidW says, "A woman, not necessarily the mother, I think. We were going too fast." | ||
| DavidW says (to ClubFloyd), "roll bones" | ||
| CF ] Deep in the Bayou 5/284 | ||
| CF | > | ||
| CF | > ROLL BONES | ||
| CF | | ||
| CF | Nothing obvious happens. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw bones" | ||
| CF ] Deep in the Bayou 5/285 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take bones" | ||
| CF ] Deep in the Bayou 5/286 | ||
| CF | > | ||
| CF | > TAKE BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "philippe, follow me" | ||
| CF ] Deep in the Bayou 5/286 | ||
| CF | > | ||
| CF | > PHILIPPE, FOLLOW ME | ||
| CF | | ||
| CF | You seem to want to talk to someone, but I can't see whom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] Deep in the Bayou 5/287 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | Standing on the grassy knoll is Colonel Phillipe Meribeaux, staring | ||
| CF | off into the distance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "phillipe, follow me" | ||
| CF ] Deep in the Bayou 5/288 | ||
| CF | > | ||
| CF | > PHILLIPE, FOLLOW ME | ||
| CF | | ||
| CF | His spirit is as insubstantial as air. He ignores you completely as if | ||
| CF | you are not there. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to him" | ||
| CF ] Deep in the Bayou 5/289 | ||
| CF | > | ||
| CF | > TALK TO HIM | ||
| CF | | ||
| CF | "Ah must meet mah wife at the ball," snaps the Colonel. "I got no time | ||
| CF | to tarry." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "phillipe, west" | ||
| CF ] Deep in the Bayou 5/290 | ||
| CF | > | ||
| CF | > PHILLIPE, WEST | ||
| CF | | ||
| CF | Colonel Phillipe Meribeaux, the spirit of an army officer has better | ||
| CF | things to do. | ||
| CF | | ||
| CF | > | Pinkunz says, "Suddenly, in the shapes they make, you can see strange images. A woman dances with her husband. A soldier strides into a ballroom. A young woman in the shadows watches a child play. A child greets his mother in a shadowy alleyway." | |
| Knight_Otu says (to ClubFloyd), "read banish" | ||
| CF ] Deep in the Bayou 5/291 | ||
| CF | > | ||
| CF | > READ BANISH | ||
| CF | | ||
| CF | The page is titled "For the Banishing of thee most Persistent of | ||
| CF | Spirits and Entrapping them in a Thing of Power". The lengthy text | ||
| CF | begins "To banish a spirit it must be named, for it is the truth that | ||
| CF | a name is a thing of power, and an object of satanic power may be | ||
| CF | entrusted to hold a dreadful spirit and the most powerful of these | ||
| CF | things to hold many...." and then it goes on for the rest of the page | ||
| CF | with a whole bunch of terrible warnings which you can't be bothered to | ||
| CF | read. | ||
| CF | | ||
| CF | According to the instructions at the end, you make a complicated | ||
| CF | gesture with your fingers, then you're supposed to repeat "Spiritus | ||
| CF | replebatur!" and yell the spirit's name three times. | ||
| CF | | ||
| CF | It seems straightforward enough. You could probably cast this banish | ||
| CF | spell if you had a mind to. | ||
| CF | | ||
| CF | > | burl says, "sounds like the spell for Astaroth" | |
| DavidW asks, "If we banish him, can we summon him by name elsewhere?" | ||
| Knight_Otu says, "Maybe." | ||
| Knight_Otu says (to ClubFloyd), "SAVE" | ||
| Knight_Otu says (to ClubFloyd), "cf6" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] Deep in the Bayou 5/291 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Pinkunz asks, "The soldier and the husband appear to be the same person. Is the young woman and the mother the same person as well?" | |
| burl asks, "i wonder if we resurrect one of a pair, will the other follow?" | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Deep in the Bayou 5/292 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/293 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/294 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa Meribeaux paces elegantly back | ||
| CF | and forth, fanning herself with a brightly coloured fan. She seems to | ||
| CF | be looking for something or someone. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/295 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | "Clarissa, mah dear," says the Colonel, and opens his arms. | ||
| CF | | ||
| CF | "Darling," yells Clarissa, and runs over to her husband, her arms | ||
| CF | wide. "Why, ah thought you were nevah coming back to me!" | ||
| CF | | ||
| CF | The Colonel swings her around in his arms. "Ain't nuthin gonna stop me | ||
| CF | coming home to you," he says and kisses her passionately. She leans | ||
| CF | back and raises one foot off the floor. | ||
| CF | | ||
| CF | "Why," she says, when she eventually comes up for air, "ah am quite | ||
| CF | overcome." She glances around, fanning herself rapidly. "But mah deah, | ||
| CF | not in front of all these people." She straightens up and pats her | ||
| CF | dress down. "You look tired, honey," she continues. "You need feeding | ||
| CF | up. I will ask Elizabeth to make a casserole tonight. Then later..." | ||
| CF | and here she taps him on the chest with her fan and smiles | ||
| CF | coquettishly, "well, mayhap it's time we started on that family. Ah | ||
| CF | got a good feeling about it now." | ||
| CF | | ||
| CF | The Colonel, surprisingly, grimaces. "Now don't you start already, | ||
| CF | Clarissa," he says. "Sometimes these things take time. Ain't no use | ||
| CF | fretting none. We're still young." | ||
| CF | | ||
| CF | Clarissa just laughs and takes up the Colonel's arms in her own. | ||
| CF | "Dance with me, dear," she says. "Ah missed you so much." The couple | ||
| CF | dance to unheard music. Round and round they go, eyes locked together. | ||
| CF | | ||
| CF | But then they suddenly stop. The light goes out of the ghost's eyes | ||
| CF | and they part. It's like they can't see each other anymore! | ||
| CF | | ||
| CF | > | DavidW says, "oooo. The banish spell puts the spirit into the stone." | |
| burl says, "that's a really nice mechanic" | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/296 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/297 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/298 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/299 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/300 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hm." | |
| Jacqueline says, "I feel like this subgame could be a whole game in and of itself." | ||
| Pinkunz says, "Agreed." | ||
| MoyTravis says, "Yeah it's pretty nifty." | ||
| Pinkunz says, "It mechanically isn't any different that moving things around with a wheel barrow." | ||
| MoyTravis says, "Framing matters." | ||
| Pinkunz says, "Fair." | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/301 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - a dark-haired child wearing an old fashioned short-trousered | ||
| CF | suit | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/301 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/302 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/302 | ||
| CF | > | ||
| CF | > SUMMON | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/303 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | She seems suddenly terrified. "I ain't supposed to be here," she says. | ||
| CF | "This ain't right. I need to meet mah boy." | ||
| CF | | ||
| CF | She turns and fades out of the room straight through the wall! | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/304 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Do we have any rooms that we could potentially summon a new ghost from? Also, how would the guard react to a ghost being summoned in the same room as them?" | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/305 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/306 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/307 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/308 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You go through the incantation, but the summon spell does nothing. You | ||
| CF | feel the power of the stone flow through you, but there are no unquiet | ||
| CF | spirits here to summon. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Basement 5/309 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/310 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/311 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/312 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips the ghostly child. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/313 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] Alleway, Rue des Verrièrs 5/314 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "Ah need to see mah child," whispers Evangeline. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Where did the first guard die? Can we summon him, or acid boy?" | |
| Knight_Otu says (to ClubFloyd), "talk to child" | ||
| CF ] Alleway, Rue des Verrièrs 5/315 | ||
| CF | > | ||
| CF | > TALK TO CHILD | ||
| CF | | ||
| CF | "Mah Momma told me not to talk to no strangers," says the young boy, | ||
| CF | stopping his game. "Why, I might be kidnapped away and no-one would | ||
| CF | know where ah was." He thinks for a moment. "Well I guess it can't do | ||
| CF | no harm. I'm Jacques Meribeaux. Mighty pleased to meet you." He holds | ||
| CF | out a small grimy hand, which you try and take, but it's as | ||
| CF | insubstantial as smoke. | ||
| CF | | ||
| CF | "Ah'm supposed to be meeting mah Momma here," continues Jacques, | ||
| CF | anxiously looking around. "But she's real late." Then, seeming to | ||
| CF | forget about you, he continues his game, skipping around the fronts of | ||
| CF | the houses. | ||
| CF | | ||
| CF | > | DavidW says, "You tried this combo already." | |
| DavidW says, "You assumed Eva was the mom." | ||
| Knight_Otu says, "Yeah, maybe we do need to do a bit more" | ||
| Knight_Otu says (to ClubFloyd), "talk to woman" | ||
| CF ] Alleway, Rue des Verrièrs 5/316 | ||
| CF | > | ||
| CF | > TALK TO WOMAN | ||
| CF | | ||
| CF | "Ah need to see mah child," whispers Evangeline. | ||
| CF | | ||
| CF | > | Pinkunz says, "Also, ballroom lady mentions Starting a family, thus can't be a mother either." | |
| DavidW says, "Eva's child could be Phillipe for all I know." | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/317 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/318 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/319 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | The Priestess cackles horribly. "I got power," she says. "There ain't | ||
| CF | nothing you can do to me with that little old stone and those dusty | ||
| CF | old spells. Ah'll hold in this this place till mah story is done." | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/320 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/321 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | burl says, "curious if re-rolling the bones gives a reduced list of ghosts" | |
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/322 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/323 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/324 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A young | ||
| CF | woman in the shadows watches a child play. A soldier strides into a | ||
| CF | darkened basement. A woman and a child embrace in a dark alley. A | ||
| CF | child greets his mother in a shadowy alleyway. | ||
| CF | | ||
| CF | > | Pinkunz says, "It did change..." | |
| Knight_Otu says, "Huh." | ||
| Knight_Otu says (to ClubFloyd), "get bones" | ||
| CF ] Voodoo Temple 5/325 | ||
| CF | > | ||
| CF | > GET BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/326 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/327 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/327 | ||
| CF | > | ||
| CF | > BANISH | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/328 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/328 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/329 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/330 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/331 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/332 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/332 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | > | DavidW says, "I wonder if having two spirits in the stone at once is okay." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/333 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | In the centre of the ballroom, Clarissa paces worriedly back and | ||
| CF | forth. She seems to be getting ready to go somewhere. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Seems so." | |
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/334 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/334 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/335 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | along the alleyway, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/336 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/336 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/337 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | "Dahling," shouts Clarissa, waving one elegant hand. "Over here!" | ||
| CF | | ||
| CF | The boy turns and for a moment, you swear there is a grimace of | ||
| CF | dislike on his face, but it quickly smooths. "Hi Momma," he says. | ||
| CF | "Where's Poppa? I thought we were going to catch some crawfish in the | ||
| CF | Bayou today." | ||
| CF | | ||
| CF | Clarissa ruffles the child's hair and straightens his collar and | ||
| CF | bowtie. "Poppa's busy," she says. "He's got important work to do. You | ||
| CF | know that, Jacques. Don't you want to spend some time with your Momma? | ||
| CF | We can go into town and do some shopping. Why, ah'm sure you'd like to | ||
| CF | see the new guns Mr Delacroix has just gotten into his shop. They come | ||
| CF | all the way from Texas." | ||
| CF | | ||
| CF | "Sure Momma," says Jacques, but you can hear the reluctance in his | ||
| CF | voice. "But Poppa's always busy these days. I don't think he likes me | ||
| CF | no more." | ||
| CF | | ||
| CF | "Why that's a terrible thing to say," scolds Clarissa. "Your Poppa | ||
| CF | loves you very much. He's just so busy. Now ah do not want to hear you | ||
| CF | say that again. Especially in front of Poppa." | ||
| CF | | ||
| CF | Jacques does not look convinced, you notice. His mother takes his hand | ||
| CF | and leads him along the alleyway. "Now don't dawdle," she says. "If | ||
| CF | you're a good boy, maybe we'll get us some taffy." | ||
| CF | | ||
| CF | But then, a strange thing happens. The light goes out of the ghost's | ||
| CF | eyes and they drift apart. It's like they can't see each other | ||
| CF | anymore! | ||
| CF | | ||
| CF | > | burl exclaims, "yeah!!" | |
| MoyTravis exclaims, "Go into town. See the guns. All the way from Texas!" | ||
| MoyTravis says, "Fun day out for the family! I joke but you know, that does sound kinda fun." | ||
| Pinkunz says, "Huh... Time is all screwy. Clarissa just mentioned starting a family minutes ago. Now she has a boy." | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/338 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/339 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/340 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/341 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Colonel Phillipe Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/342 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/343 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa paces up and down. She looks both nervous and determined. | ||
| CF | Also, a little scared. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/344 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | (3) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/344 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/345 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/346 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/347 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | The ghosts in the room continue to drift around, as if they are | ||
| CF | oblivious of one another! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/348 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/349 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa paces up and down. She looks both nervous and determined. | ||
| CF | Also, a little scared. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | DavidW asks, "talk to clarissa?" | |
| Pinkunz nods. | ||
| burl says, "i'd like to know where she fits too" | ||
| DavidW says (to ClubFloyd), "talk to clarissa" | ||
| CF ] Alleway, Rue des Verrièrs 5/350 | ||
| CF | > | ||
| CF | > TALK TO CLARISSA | ||
| CF | | ||
| CF | Clarissa glances nervously about. She seems to have aged since the | ||
| CF | last time you saw her. But not in years. | ||
| CF | | ||
| CF | "I got to get to mah meeting," she says. "She ain't gonna be happy if | ||
| CF | I keep her waiting." | ||
| CF | | ||
| CF | > | Pinkunz says, "Her." | |
| burl asks, "what do the bones have to say?" | ||
| Knight_Otu says, "Sorry, took a look at the visions." | ||
| DavidW says, "I think the bones only work in the temple" | ||
| burl says, "ah oops ok" | ||
| Pinkunz says, "Agreed." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/351 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/352 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/353 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A woman | ||
| CF | speaks to an old priestess. A child plays in an alley while being | ||
| CF | watched. A soldier strides into a darkened basement. A young woman in | ||
| CF | the shadows watches a child play. | ||
| CF | | ||
| CF | > | Knight_Otu says, "Yeah, the temple." | |
| burl says, "so it's the old priestess clarissa needs" | ||
| Pinkunz says, "Clarissa to Gemma." | ||
| DavidW says, "oh. We need to bring Clarissa here." | ||
| DavidW says (to ClubFloyd), "take bones" | ||
| CF ] Voodoo Temple 5/354 | ||
| CF | > | ||
| CF | > TAKE BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/355 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/356 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Clarissa paces up and down. She looks both nervous and determined. | ||
| CF | Also, a little scared. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/357 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Banish ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Alleway, Rue des Verrièrs 5/357 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/358 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/359 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast summon" | ||
| CF ] Voodoo Temple 5/360 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | Clarissa looks nervous. She cautiously approaches the throne where the | ||
| CF | old Priestess sits like a malevolent spider. "Ah was told to come | ||
| CF | here," she says, her voice quavering. "They said you was the only one | ||
| CF | could help me with mah husband's little problem." | ||
| CF | | ||
| CF | The Priestess gives an evil cackle. "So you finally decided to pay me | ||
| CF | a visit," she wheezes. "Well, girl, ah can help you with your little | ||
| CF | problem, but you gonna have to pay..." then she stops talking and her | ||
| CF | face changes. | ||
| CF | | ||
| CF | "Don't listen to her," says the Priestess and suddenly it's Gemma's | ||
| CF | voice! "You don't need to have a kid. You should just leave him. He's | ||
| CF | an asshole. You've got money - you can live without him and all his | ||
| CF | bulsh..." then she stops and it's as if the Priestess is undergoing a | ||
| CF | titanic internal struggle. Clarissa just looks confused. | ||
| CF | | ||
| CF | "You be quiet," says the Priestess to herself. Then she turns to | ||
| CF | Clarissa "Ignore her," she says, looking a little embarrassed, "she | ||
| CF | don't know what she's talking about. As ah was saying, ah can help | ||
| CF | you, but you gotta pay." | ||
| CF | | ||
| CF | "Ah will pay anything!" replies Clarissa. | ||
| CF | | ||
| CF | "Will you now," cackles the Priestess. "Will you indeed?" | ||
| CF | | ||
| CF | Then a strange thing happens. The light goes out of the ghost's eyes | ||
| CF | and they drift apart. It's like they can't see each other anymore! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw bones" | ||
| CF ] Voodoo Temple 5/361 | ||
| CF | > | ||
| CF | > THROW BONES | ||
| CF | | ||
| CF | You throw the bones onto the black table. They click and skitter | ||
| CF | across its dark surface forming a loose pattern. | ||
| CF | | ||
| CF | Suddenly, in the shapes they make, you can see strange images. A young | ||
| CF | woman in the shadows watches a child play. A child plays in an alley | ||
| CF | while being watched. Two women and a child converse in a huge room. A | ||
| CF | soldier strides into a darkened basement. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take bones" | ||
| CF ] Voodoo Temple 5/362 | ||
| CF | > | ||
| CF | > TAKE BONES | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | Pinkunz asks, "Both female ghosts and the kid in the Ballroom?" | |
| Knight_Otu says, "Maybe." | ||
| DavidW asks, "I suppose?" | ||
| Pinkunz says, "Can't move Gemma." | ||
| DavidW says, "Eva and Clar" | ||
| Pinkunz nods. | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/363 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Gemma Bellerton, in costume as a voodoo priestess | ||
| CF | | ||
| CF | Banish ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/363 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Deep in the Bayou 5/364 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Alleway, Rue des Verrièrs 5/365 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/366 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/367 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Basement 5/368 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Pacing impatiently around the set is Colonel Meribeaux. He looks | ||
| CF | anxious, as if he needs to be somewhere. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/369 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Evangeline, a wronged young woman | ||
| CF | (2) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Banish ? | ||
| DavidW says (to ClubFloyd), "2" | ||
| CF ] Basement 5/369 | ||
| CF | Banish ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Colonel Phillipe | ||
| CF | Meribeaux into the stone. The spirit is sucked wailing into its | ||
| CF | depths, there to be trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | burl says, "helping the ghosts move through their storyline in time is a cute narrative puzzle" | |
| DavidW says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/370 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Summon ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Basement 5/370 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | She looks wildly around. "She'll take mah boy if ah don't hurry," she | ||
| CF | gasps. "She's after mah boy." | ||
| CF | | ||
| CF | She floats straight through the set wall and out of the room! | ||
| CF | | ||
| CF | > | Pinkunz says, "I feel bad for the ghosts. They're wailing every time you banish them. It must be pretty unpleasant." | |
| DavidW says (to ClubFloyd), "cast summon" | ||
| CF ] Basement 5/371 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (2) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | | ||
| CF | Summon ? | ||
| DavidW says (to ClubFloyd), "1" | ||
| CF ] Basement 5/371 | ||
| CF | Summon ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | "Ah simply cannot be here, I need to be home." says the boy, his face | ||
| CF | screwed up in puzzlement. | ||
| CF | | ||
| CF | He turns away from you and runs straight through the wall of the set! | ||
| CF | | ||
| CF | > | DavidW says, "yeah, we weren't ready for that scene yet." | |
| burl says, "not to mention how cramped the stone must be Pinkuz, having to share a room with two other tormented spirits" | ||
| Jacqueline says, "I'm going to have to step away soon (we've been going over two hours, I have a phone call planned), but I'm fine with y'all continuing. I can read to catch up later. I'm enjoying this." | ||
| Pinkunz says, "It's like horror Pokemon, with the stone being the pokeball." | ||
| Pinkunz exclaims, "Gotta catch them all!" | ||
| Knight_Otu says (to Pinkunz), "So, like regular Pokemon ;)" | ||
| burl exclaims, "bye Jacqueline thanks for helping me on my first day here!" | ||
| Pinkunz lolz. | ||
| Pinkunz says (to Jacq), "Thanks. Hope you feel better." | ||
| burl says, "also that's beautiful, now im imagining the pokemon theme song but with big pipe organs" | ||
| MoyTravis asks, "So we calling it now?" | ||
| Pinkunz asks, "Pokemon: The Horde Unsealed?" | ||
| DavidW says, "I'm unclear who to match up where now. I'll like to talk to everyone to get a better clue." | ||
| Jacqueline exclaims (at burl), "You're welcome!" | ||
| Pinkunz says, "Jacq seemed fine with continuing." | ||
| Pinkunz says, "It's up to you guys. I'm game if you are." | ||
| Knight_Otu says, "I think we wanted the two women and the child in the ballroom." | ||
| Jacqueline says (to Pinkunz), "Thanks - yeah, I'm feeling better this week. :)" | ||
| DavidW asks, "oh, in the ballroom?" | ||
| Knight_Otu says, "I do need to take a quick break at least." | ||
| Knight_Otu says (to David), "That was my understanding." | ||
| Pinkunz says, "They said "big room"" | ||
| burl says, "i could play another hour more but not more than 2. definitely could use a food break" | ||
| Pinkunz asks, "15 minute break?" | ||
| DavidW says, "I will need to quit soon-ish to get real food." | ||
| Jacqueline says, "And yeah, you all seem to be in the middle of a big thing and if you all keep going without me that's fine - I'll just read through it before the next session." | ||
| burl asks, "how do games usually get paused and restarted?" | ||
| DavidW says, "I'm a bit confused what I should do now." | ||
| Pinkunz says (to David), "Why don't we call it then. You need to make some real food for yourself and not TWELVE donuts." | ||
| burl says, "i feel like if you need food DavidW yeah we should call it" | ||
| DavidW says, "I got real food from the Korean restaurant. I don't make much myself." | ||
| burl says, "haha yeah twelve is more than six but not real food" | ||
| DavidW says, "er I get real food" | ||
| Pinkunz says, "Besides, even those of us who'd continue still need a break, so why don't we just continue next week." | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| DavidW says (to ClubFloyd), "cfdrhorrorvoodoo" | ||
| CF ] Basement 5/371 | ||
| CF | > SAVEOk. | ||
| CF | | ||
| CF | > | Pinkunz says (to burl), "I hope you enjoyed your first Club Floyd." | |
| Pinkunz says, "You definitely came more prepared than I did for my first time." | ||
| burl says, "thank you Pinkunz this is a lot of fun! i've played a lot of text adventures i just never thought about doing it collaboratively, this is amazing <3" | ||
| Pinkunz says, "I reccomend reading some of the old ClubFloyd transcripts up on Jacq's site." | ||
| Pinkunz says, "There are some gems in there." | ||
| Pinkunz says, "If that is your jam, that is." | ||
| DavidW says, "Twelve donuts isn't as bad as forty cakes. That's as many as four tens. And that's terrible." | ||
| burl says, "ok i will go look at some old transcripts and see if there are transcripts from some games i liked" | ||
| Pinkunz gives a thumbs up. | ||
| burl says, "heading out for now, but if holiday things do not pre-empt i will see you next week :)" | ||
| Pinkunz says (to David), "I can't fault the logic there." | ||
| Pinkunz exclaims (at Burl), "Goodnight and Happy Holidays!" | ||
| MoyTravis says, "Cya'll round. Happy holidays and all." | ||
| MoyTravis disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| burl goes home. | Pinkunz says (to Moy), "Ditto." | |
| Pinkunz disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| Pinkunz has arrived. | Knight_Otu exclaims, "I see we decided to end for the day. Good night, everyone, and take care!" | |
| Knight_Otu goes home. | DavidW says, "bye all" | |
| Pinkunz exclaims, "Thanks for a great game today. Hopefully see everyone next week!" | ||
| *** SESSION 3 *** | ||
| Krumar asks, "Is there a game today?" | ||
| Jacqueline says, "I'm guessing we'll pick up the Dr Horror thing again" | ||
| Jacqueline asks, "Week... 3? I think?" | ||
| Jacqueline says, "Hrm. So, it is now The Time, but DW will likely not appear for 20+ minutes (or longer, but last week I think he woke up about half an hour in)..." | ||
| Jacqueline asks, "KO, you were driving but have no map, is that right?" | ||
| Knight_Otu says, "I don't have a map,but I think I can manage." | ||
| Jacqueline says, "woo" | ||
| Knight_Otu says, "The game is pretty compartmentalized right now." | ||
| Jacqueline says, "True" | ||
| Jacqueline says, "So, we were in the zombie/voodoo place? (I am setting aside my complaints about the representation of voodoo for now.)" | ||
| Knight_Otu says, "So as I recall, we were herding ghosts with a voodoo stone." | ||
| MoyTravis says, "yep" | ||
| Jacqueline says, "OH RIGHT" | ||
| Krumar says, "Interesting thing to come in on." | ||
| Jacqueline says (to Krumar), "Yeah, this part of the game is actually kind of interesting enough to be the whole game. I'd forgotten that." | ||
| Knight_Otu says, "And yeah, I guess we'll get zombies for our undead army from this film studio." | ||
| Knight_Otu says (to ClubFloyd), "l" | ||
| CF ] Basement 5/372 | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | Roger says, "how do you do that voodoo that you do so well" | |
| Knight_Otu says, "Also, the protagonist is rather naive about what's happening until they can no longer deny the obvious." | ||
| Knight_Otu says (to ClubFloyd), "i" | ||
| CF ] Basement 5/373 | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You are carrying the bones of fate, a milk bottle full of blood, an | ||
| CF | evil book of black magic, a small brass key, a tea caddy and a stained | ||
| CF | crimson robe. You are wearing a crucifix, a gold pocketwatch, a grey | ||
| CF | suit and a jaunty hat. | ||
| CF | | ||
| CF | You are pushing a wheelbarrow along. It contains a sacred voodoo | ||
| CF | stone. | ||
| CF | | ||
| CF | > | Knight_Otu says, "My recollection is that we wanted to bring certain ghosts to the ballroom." | |
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/374 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/375 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/376 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | Roger says, "that was easy" | |
| Knight_Otu says (to ClubFloyd), "banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/376 | ||
| CF | > | ||
| CF | > BANISH | ||
| CF | | ||
| CF | That's not a verb I recognise. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Alleway, Rue des Verrièrs 5/377 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Jacques Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "e" | ||
| CF ] Deep in the Bayou 5/378 | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Deep in the Bayou | ||
| CF | Surrounded by the trunks of enormous trees, the Bayou has been emptied | ||
| CF | for the night. It's just a rubber lined dip in the floor now, with a | ||
| CF | few sad plastic plants lying in the bottom of it. Openings in the set | ||
| CF | lead south and east into the gloom. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Voodoo Temple 5/379 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Voodoo Temple | ||
| CF | All the masks lining the walls of the set seem to regard you with | ||
| CF | narrowed, suspicious eyes. There are dozens of them in all shapes and | ||
| CF | sizes. In between and around them hang colourful drapes, their | ||
| CF | attractive patterns at odds with the skulls on the floor and | ||
| CF | statuettes of frightening figures in little alcoves. Unlit candles | ||
| CF | cover almost every surface and everything is draped in a patina of | ||
| CF | nylon cobwebs. Doorways in the set walls lead into the gloom to the | ||
| CF | north and south. | ||
| CF | | ||
| CF | Dominating one wall is a large ornately carved wooden throne. | ||
| CF | | ||
| CF | In front of the throne is a small black table. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | Gemma Bellerton, probably possessed by an ancient Voodoo Priestess, | ||
| CF | sits on the wooden throne. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Voodoo Temple 5/380 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | There are many spirits here! Who do you wish to banish and entrap in | ||
| CF | the sacred stone? | ||
| CF | | ||
| CF | (1) - Clarissa Meribeaux, a faded southern belle | ||
| CF | (2) - Gemma Bellerton, in costume as a voodoo priestess | ||
| CF | | ||
| CF | Banish ? | ||
| Knight_Otu says (to ClubFloyd), "1" | ||
| CF ] Voodoo Temple 5/380 | ||
| CF | Banish ? | ||
| CF | > 1 | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Clarissa Meribeaux into | ||
| CF | the stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | Knight_Otu says, "We can't banish Gemma." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] The Cemetery of St. Louise de Marillac 5/381 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | The Cemetery of St. Louise de Marillac | ||
| CF | What a set this is! Mallet Studios must have actually spent some real | ||
| CF | money on this. The large space, bounded by walls painted with distant | ||
| CF | scenery, is row after row of forbidding tombs, ornamented gravestones | ||
| CF | and imposing hooded statues. Vines and tropical looking plastic plants | ||
| CF | wind over everything, giving a real atmosphere of age and shadowy | ||
| CF | menace. Openings in the set walls lead north and west deeper into the | ||
| CF | studio. | ||
| CF | | ||
| CF | To one side of the set is a row of freshly filled in graves! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "w" | ||
| CF ] Basement 5/382 | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/383 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/384 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | (3) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (4) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | Knight_Otu says, "Oh, we already had the colonel in the stone." | |
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/384 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | She seems suddenly terrified. "I ain't supposed to be here," she says. | ||
| CF | "This ain't right. I need to meet mah boy." | ||
| CF | | ||
| CF | She turns and fades out of the room straight through the wall! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/385 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | (3) - Clarissa Meribeaux, a faded southern belle | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "3" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/385 | ||
| CF | Summon ? | ||
| CF | > 3 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Clarissa Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/386 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Jacques Meribeaux, a ghostly young boy | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/386 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Jacques Meribeaux. | ||
| CF | | ||
| CF | "Ah simply cannot be here, I need to be home." says the boy, his face | ||
| CF | screwed up in puzzlement. | ||
| CF | | ||
| CF | He turns away from you and runs straight through the wall of the set! | ||
| CF | | ||
| CF | > | Knight_Otu says, "Hm, not like this." | |
| Knight_Otu says (to ClubFloyd), "s" | ||
| CF ] Basement 5/387 | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Basement | ||
| CF | Ventilation ducts and pipes cover the ceiling of this small set. The | ||
| CF | three walls have been painted with splashes of green and brown that | ||
| CF | you suppose is meant to represent mould and water staining. Gaps in | ||
| CF | the set walls lead north and east into the studio gloom. | ||
| CF | | ||
| CF | Near the middle of the set is the white outline of a person painted | ||
| CF | onto the grimy floor. | ||
| CF | | ||
| CF | Wearing a simple white dress, Evangeline stands head-down in the | ||
| CF | shadows. Her long dark hair covers her face. | ||
| CF | | ||
| CF | Dripping down one of the set walls and pooling on the floor is a | ||
| CF | horrific dark substance! It looks like blood! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast banish" | ||
| CF ] Basement 5/388 | ||
| CF | > | ||
| CF | > CAST BANISH | ||
| CF | | ||
| CF | You mumble the words of the spell and banish Evangeline into the | ||
| CF | stone. The spirit is sucked wailing into its depths, there to be | ||
| CF | trapped till it is once again summoned! | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] The Grand Ballroom at the Governor's Mansion 5/389 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | The Grand Ballroom at the Governor's Mansion | ||
| CF | An ostentatious staircase, ending at the top at a false door on the | ||
| CF | Studio wall, sweeps down into a large grand ballroom set dominated by | ||
| CF | a huge chandelier that hangs in crystalline profusion from the | ||
| CF | ceiling. On the side of the set opposite the stairs is a small raised | ||
| CF | stage for the band. The rest of the floor is clear for the dancers. | ||
| CF | The walls are lined with gilded baroque mirrors, reflecting you | ||
| CF | endlessly! | ||
| CF | | ||
| CF | Gaps in the set walls lead north and south, deeper into the Studio. | ||
| CF | | ||
| CF | Clarissa wanders around the set. She is wringing her hands, fretfully. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "n" | ||
| CF ] Alleway, Rue des Verrièrs 5/390 | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Alleway, Rue des Verrièrs | ||
| CF | A set designer has gone to great lengths to re-imagine a narrow | ||
| CF | alleyway running between rows of townhouses in somewhere like New | ||
| CF | Orleans. The facades of the houses, propped up by beams at the back, | ||
| CF | are painted in dusky oranges, reds and creams to resemble stucco | ||
| CF | rendering. Arches, separated by ornate columns, cover the frontages, | ||
| CF | each with its own darkened window. Elaborate iron balconies, created | ||
| CF | from plywood, stretch in between each arch, complete with hanging | ||
| CF | plastic plants and vines. Here, in the semi-darkness, the false | ||
| CF | buildings feel oppressive. Like they are hiding secrets! | ||
| CF | | ||
| CF | Gloomy openings in the set walls lead south and east deeper into the | ||
| CF | studio. To the west, a brighter gap opens into the guard's break room. | ||
| CF | | ||
| CF | Around the front of the buildings, occasionally glancing anxiously | ||
| CF | around the set, skips Jacques Meribeaux. | ||
| CF | | ||
| CF | > | ||
| Knight_Otu says (to ClubFloyd), "cast summon" | ||
| CF ] Alleway, Rue des Verrièrs 5/391 | ||
| CF | > | ||
| CF | > CAST SUMMON | ||
| CF | | ||
| CF | There are many spirits inside the stone! Who do you wish to summon? | ||
| CF | | ||
| CF | (1) - Colonel Phillipe Meribeaux, the spirit of an army officer | ||
| CF | (2) - Evangeline, a wronged young woman | ||
| CF | | ||
| CF | Summon ? | ||
| Knight_Otu says (to ClubFloyd), "2" | ||
| CF ] Alleway, Rue des Verrièrs 5/391 | ||
| CF | Summon ? | ||
| CF | > 2 | ||
| CF | | ||
| CF | You undertake the strange actions and declaim all the words of the | ||
| CF | summon spell. The spirit emerges from the stone like smoke and | ||
| CF | coalesces into Evangeline. | ||
| CF | | ||
| CF | Evangeline sinks deeper into the shadows of the alleyway so she is | ||
| CF | almost entirely hidden. "Jacques, mah boy" she whispers so quietly you | ||
| CF | can only just hear her. | ||
| CF | | ||
| CF | The young boy, seemingly unable to see her, continues to skip around | ||
| CF | the front of the houses. It's difficult to tell what Evangeline is | ||
| CF | thinking or feeling because you can hardly see her, and the bits you | ||
| CF | can see are covered in lank dark hair, but she reaches out one small | ||
| CF | hand slowly towards the child and you swear you hear her whisper "my | ||
| CF | baby" before she drops her hand again and turns away. | ||
| CF | | ||
| CF | You can't help but wonder why she doesn't talk to the child. The plot | ||
| CF | thickens! There's definitely something odd going on here! | ||
| CF | | ||
| CF | > | Jacqueline says, "I am (pleasantly) surprised that the stone can contain multiple souls." | |
| Jacqueline says, "Seems like a thing where an author might decide inventory management is a 'feature'." | ||
| Jacqueline says, "Thank you for not doing that, author." | ||
| Knight_Otu says, "Yeah. I suppose they could have allowed BANISH X or SUMMON x too, but this is already more convenient than some people might have written it." | ||
| Jacqueline says, "Okay, so what is up with her and the kid." | ||
| Roger says, "something odd! apparently" | ||
| Jacqueline says (to ClubFloyd), "x evangeline" | ||
| CF ] Alleway, Rue des Verrièrs 5/392 | ||
| CF | > | ||
| CF | | ||