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.
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ToyShop & Floyditorium
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#ClubFloyd Discussion
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DavidW says, "Incidentally, Red Door Yellow Door has a bit of a weird ClubFloyd vibe to it." | ||
DavidW says, "It's sorta like playing an IF as a group, but presented as a sort of lucid dreaming-ish sort of thing. Tapping into an imaginary space while awake." | ||
DavidW says, "We could play Red Door Yellow Door if I'm not driving. And I didn't see all of that game yet." | ||
Perry says, "Sure" | ||
DavidW says, "okay, let's do that one." | ||
DavidW says (to ClubFloyd), "load sleepmask reddooryellowdoor" | ||
CF ] Living Room | ||
CF | | ||
CF | | ||
CF | | ||
CF | | ||
CF | | ||
CF | Living Room | ||
CF | Claire says, "Okay, I'm ready now," and lies down on the floor. Jen | ||
CF | turns off the lights, and the four of you gather around in a circle. | ||
CF | | ||
CF | Claire looks up at you, and says: "Can you tell me the rules again, | ||
CF | Em?" | ||
CF | | ||
CF | [Type TELL RULES to explain the rules.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "tell rules" | ||
CF ] Living Room | ||
CF | > | ||
CF | > TELL RULES | ||
CF | | ||
CF | You say, "Sure. Just close your eyes, and raise your arms in the air." | ||
CF | She does so. Tiffany giggles. | ||
CF | | ||
CF | "Okay," you say, "I'm going to RUB your temples in circles, and | ||
CF | say 'Red door, yellow door, red door, yellow door.' You just try to | ||
CF | picture a door. When you can see a door, lower your hands. | ||
CF | | ||
CF | "Once you're asleep, these are the rules: | ||
CF | | ||
CF | 1. Avoid any room with clocks, because they can trap you. | ||
CF | | ||
CF | 2. Always try to go up, rather than down, if you can help it. | ||
CF | | ||
CF | 3. If you see a man in a suit, run. | ||
CF | | ||
CF | That everything, Jen?" | ||
CF | | ||
CF | "Yeah, looks like," Jen mutters, looking intently at her phone. | ||
CF | | ||
CF | "Great. So try to rest, and I'll rub your temples." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "about" | ||
CF ] Living Room | ||
CF | > | ||
CF | > ABOUT | ||
CF | | ||
CF | Red Door Yellow Door was written for the Sprouting round | ||
CF | SeedComp! 2023, where participants took ideas, stories, and code | ||
CF | submitted by others in the Planting round and turned them into full | ||
CF | games. | ||
CF | | ||
CF | For more specific information, type one of the following commands: | ||
CF | ABOUT INTERACTIVE FICTION | ||
CF | ABOUT COMMANDS | ||
CF | ABOUT CONTENT | ||
CF | ABOUT CONVERSATION | ||
CF | CREDITS | ||
CF | | ||
CF | > | Perry says, "Gonna check commands and conversation just in case there's anything special." | |
Perry says (to ClubFloyd), "about commands" | ||
CF ] Living Room | ||
CF | > | ||
CF | > ABOUT COMMANDS | ||
CF | | ||
CF | This is a list of unusual commands you may find useful in this story. | ||
CF | It may be updated as you play and discover new things to do. | ||
CF | | ||
CF | GET/GO/HIDE/CRAWL UNDER/BENEATH/UNDERNEATH (something) - some | ||
CF | things are large enough for you to hide underneath. | ||
CF | | ||
CF | PUT/HIDE (something) UNDER/UNDERNEATH/BENEATH (something else) | ||
CF | - some things can hide other things underneath themselves. Use | ||
CF | this command to hide things under them yourself. | ||
CF | | ||
CF | TIE (something) TO (something else) - if something is able to | ||
CF | be knotted, you can try tying it to something else. | ||
CF | | ||
CF | UNTIE (something) FROM (something else) - conversely, you can | ||
CF | attempt to untie things from each other. This can also be done simply | ||
CF | by typing UNTIE (the knottable thing). | ||
CF | | ||
CF | | ||
CF | You can always access information about the game by typing | ||
CF | ABOUT. Credits are available via CREDITS. If you need | ||
CF | help with more general commands, type COMMON COMMANDS. | ||
CF | | ||
CF | > | Knight_Otu says, "That's a premise for certain." | |
DavidW says, "There's four girls: Emily, Claire (Emily's sister), Jen, and Tiffany." | ||
Perry says, "about conversation" | ||
Perry says, "Ahh." | ||
Perry says (to ClubFloyd), "about conversation" | ||
CF ] Living Room | ||
CF | > | ||
CF | > ABOUT CONVERSATION | ||
CF | | ||
CF | If you would like to initiate a conversation with someone, you can | ||
CF | TALK TO them. Others may engage you in conversation of their | ||
CF | own accord, as well. | ||
CF | | ||
CF | Once you're engaged in conversation, you'll see a menu of numbered | ||
CF | options for responses to what's just been said (for those of you | ||
CF | familiar with Hybrid Choices by AW Freyr, the system is built on | ||
CF | that). You need only type the number of the option you wish to choose, | ||
CF | not the message itself. Different options may open up or close off | ||
CF | depending on what you say, and people may react to and teat you | ||
CF | differently depending on what they know and what words have passed | ||
CF | between you. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Living Room | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Living Room | ||
CF | It's the same as it ever was. You, Tiff, and Jen are seated in a | ||
CF | circle on the floor, and Claire is laying down with her head in your | ||
CF | lap. You pulled the cushions from the couch to make sitting on the | ||
CF | floor more comfortable, and the TV is playing brown noise to help | ||
CF | Claire concentrate. | ||
CF | | ||
CF | > | DavidW says, "Emily is the initial PC, but Claire will be telling us what she sees." | |
Perry says, "Got it" | ||
Perry says (to ClubFloyd), "x me" | ||
CF ] Living Room | ||
CF | > | ||
CF | > X ME | ||
CF | | ||
CF | You're Emily, sixteen years old. This is your sleepover, in your | ||
CF | living room. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x tiffany" | ||
CF ] Living Room | ||
CF | > | ||
CF | > X TIFFANY | ||
CF | | ||
CF | Beautiful and unfairly tall, Tiff is (you guess) still figuring things | ||
CF | out. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x jen" | ||
CF ] Living Room | ||
CF | > | ||
CF | > X JEN | ||
CF | | ||
CF | One of your best friends, even if she's a little controlling | ||
CF | sometimes. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x claire" | ||
CF ] Living Room | ||
CF | > | ||
CF | > X CLAIRE | ||
CF | | ||
CF | Claire, your kid sister. She wanted in on the sleepover, so she's | ||
CF | going to be your brave adventurer into the unknown. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "rub" | ||
CF ] Living Room | ||
CF | > | ||
CF | > RUB | ||
CF | | ||
CF | (Claire's temples) | ||
CF | You move your fingers in circles around your sister's temples. Claire | ||
CF | keeps her arms raised high. Next is time to CHANT the song. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "chant" | ||
CF | > | ||
CF | > CHANT | ||
CF | | ||
CF | You chant the song: "Red door, yellow door, any other color door. Red | ||
CF | door, yellow door, any other color door." As you chant, Tiffany and | ||
CF | Jen join in. Slowly, your sister lowers her hands to her side. | ||
CF | | ||
CF | "Okay, I'm in." | ||
CF | | ||
CF | [Press any key to continue.] | ||
Perry says (to ClubFloyd), "press space" | ||
CF ] Glen | ||
CF | [Press any key to continue.] | ||
CF | | ||
CF | Red Door Yellow Door | ||
CF | An Interactive Diversion by Charm Cochran | ||
CF | Release 1 / Serial number 230402 / Inform 7 v10.1.2 | ||
CF | [First time players should type ABOUT. Credits | ||
CF | are available via CREDITS.] | ||
CF | | ||
CF | Glen | ||
CF | Okay, okay, I can actually see it! I'm standing in a glen, and there | ||
CF | are two doors. | ||
CF | | ||
CF | ("What's a glen?" asks Tiffany. | ||
CF | | ||
CF | Emily says, "Geez, Tiffany, it's like an opening in the forest. | ||
CF | Don't you know anything?") | ||
CF | | ||
CF | Shhh. I'm trying to focus. One door is red, and the other is yellow. | ||
CF | It doesn't seem like anything is behind them. | ||
CF | | ||
CF | The glen is covered in snow, and all the trees are bare. I don't feel | ||
CF | the cold. Oh, there's sort of a trampled path leading off into the | ||
CF | trees, too. I don't know how, but I can tell it leads east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Glen | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Glen | ||
CF | I'm standing in a glen, and there are two doors. One door is red, and | ||
CF | the other is yellow. It doesn't seem like anything is behind them. | ||
CF | | ||
CF | The glen is covered in snow, and all the trees are bare. I don't feel | ||
CF | the cold. Oh, there's sort of a trampled path leading off into the | ||
CF | trees to the east. | ||
CF | | ||
CF | > | DavidW says, "You can look into open doors in this game to see what's ahead, but it can be a bit buggy sometimes." | |
Perry says (to ClubFloyd), "x me" | ||
CF ] Glen | ||
CF | > | ||
CF | > X ME | ||
CF | | ||
CF | I can't see you with my eyes closed, sis. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x red" | ||
CF ] Glen | ||
CF | > | ||
CF | > X RED | ||
CF | | ||
CF | (the Uncanny Living Room) | ||
CF | This is an almost featureless wooden door painted red. It seems like | ||
CF | there's nothing behind it. I can't describe why, but I know that it's | ||
CF | to the north. | ||
CF | | ||
CF | > | Perry says, "Heh, I like the bit about somehow knowing where north is." | |
Perry says (to ClubFloyd), "x yellow" | ||
CF ] Glen | ||
CF | > | ||
CF | > X YELLOW | ||
CF | | ||
CF | This door is metallic, with yellow symbols on it. I can't read the | ||
CF | symbols. It seems like there's nothing behind it. I can't describe | ||
CF | why, but I know that it's to the south. | ||
CF | | ||
CF | (Jen sniffs.) | ||
CF | | ||
CF | > | DavidW says, "yeah, it can be a bit meta that way. I like it." | |
Perry asks, "I'd like to go east and ignore the doors. KO?" | ||
Knight_Otu says, "Sure, fine with me." | ||
Perry says (to ClubFloyd), "l e" | ||
CF ] Glen | ||
CF | > | ||
CF | > L E | ||
CF | | ||
CF | They're all bare of leaves, so they have that winter-spindly look. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | There's like... it looks like an old camera? On the ground. | ||
CF | | ||
CF | ("Wait, I kind of wanted to check out the yellow door," Jen | ||
CF | says. | ||
CF | | ||
CF | "Hm, I was more interested in the red door," Tiff replies. | ||
CF | | ||
CF | "Yeah, that too," Jen says.) | ||
CF | | ||
CF | Okay, hold on. This isn't working. Jen, Tiff, I love you, but I can't | ||
CF | listen to everybody at once. I want to propose that I only listen to | ||
CF | Emily's instructions. She'll tell me where to go, what to do, and when | ||
CF | it's time to WAKE UP. You guys can talk, but I'll only listen | ||
CF | if Emily agrees and repeats it. Em, how do you feel about that? | ||
CF | | ||
CF | (Jen and Tiffany both look to you.) | ||
CF | | ||
CF | [When a menu of choices like the one below appears, type the | ||
CF | number of the option you want to abide by as your command.] | ||
CF | | ||
CF | 1) You could agree. | ||
CF | 2) You could also disagree. | ||
CF | | ||
CF | > | Perry says, "Hmm. Disagreeing might be funny" | |
DavidW says, "yeah, I don't know what happens if you disagree." | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | ("I don't think I like that idea," you say.) | ||
CF | | ||
CF | Ugh, really? Okay, fine. We can take what they say under | ||
CF | consideration, but I'm really more comfortable listening to you. | ||
CF | | ||
CF | [Depending on which options you choose during conversation (and | ||
CF | which actions you take outside of it), people may react differently | ||
CF | and different dialogue options may open up or be closed off.] | ||
CF | | ||
CF | 1) You could tell Jen that just because she's in honors psych | ||
CF | doesn't mean she knows more than you, or | ||
CF | 2) tell Claire that you've got her back. | ||
CF | | ||
CF | > | DavidW says, "hm. This option came up regardless." | |
Perry exclaims, "Illusion of choice!" | ||
DavidW says, "no, I suspect it has effects later. Just not sure how." | ||
Perry asks, "Well since it seems like this matters, I'm leaning towards 1. KO?" | ||
Knight_Otu says, "Sure." | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Just because you're in honors psych," you tell Jen, "doesn't | ||
CF | mean you're smarter than me.") | ||
CF | | ||
CF | ("Yeah, yeah, whatever," Jen says. "Are we playing or not?") | ||
CF | | ||
CF | Great, then it's settled. Alright, let's move forward. | ||
CF | | ||
CF | Among the Trees | ||
CF | Okay, I followed the path into the trees. There's some mist swirling | ||
CF | around my ankles. There are a bunch of... I guess, transmission | ||
CF | towers? Is that what they're called? Dotted around the area. | ||
CF | | ||
CF | The path bends here—I can follow it back west to the glen, or | ||
CF | take it north further into the forest. | ||
CF | | ||
CF | There's what looks like an old camera on the ground. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x camera" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > X CAMERA | ||
CF | | ||
CF | It's one of those old ones that you have to send away and get the | ||
CF | photos back printed on paper. | ||
CF | | ||
CF | ("Why would anyone do that?" Tiffany asks. "Everyone has | ||
CF | phones.") | ||
CF | | ||
CF | Oh, I recognize this kind. It has a flashlight as part of it for | ||
CF | whatever reason. I can SWITCH it ON if I encounter | ||
CF | anywhere dark—neat. I can also CLICK the camera to flash its | ||
CF | light once, or CLICK something else to photograph it. | ||
CF | | ||
CF | The camera is switched off right now. | ||
CF | | ||
CF | (Tiffany taps at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get it" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > GET IT | ||
CF | | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x mist" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > X MIST | ||
CF | | ||
CF | It's not too thick. It gives the place a nice kind of atmosphere. | ||
CF | | ||
CF | (Tiffany shifts her position.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get it" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > GET IT | ||
CF | | ||
CF | I already have that. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get mist" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > GET MIST | ||
CF | | ||
CF | The mist is pretty resistant to being moved around—it just kind of | ||
CF | flows through my fingers. | ||
CF | | ||
CF | > | DavidW says, "hm. Let you try." | |
Knight_Otu says, "Tiffany is so not into this." | ||
Perry says, "I think she's more into normal D&D." | ||
DavidW says, "yeah, I have no idea what Tiffany's role in this is at all." | ||
DavidW says, "I do think that Jen may want to have a more active say in what happens, though." | ||
Perry says, "I'm also curious to see what happens if I WAKE UP early, but I'm not sure if that's a great idea." | ||
DavidW says, "But that's just an impression I got from her." | ||
Perry says (to ClubFloyd), "open camera" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > OPEN CAMERA | ||
CF | | ||
CF | I don't know how to open it myself—it's one of those old ones that | ||
CF | you | ||
CF | have to send off and let somebody else open it up to develop the | ||
CF | photos. | ||
CF | | ||
CF | (Jen taps away at her phone.) | ||
CF | | ||
CF | > | DavidW says, "Probably ends the game early." | |
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf18" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Among the Trees | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wake up" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > WAKE UP | ||
CF | | ||
CF | Are you sure? Once I'm awake again I'm not going back under. | ||
CF | | ||
CF | [Please answer yes or no.] | ||
Perry says (to ClubFloyd), "yes" | ||
CF | [Please answer yes or no.] | ||
CF | > YES | ||
CF | | ||
CF | Alright. Resurfacing. | ||
CF | | ||
CF | [Press any key to continue.] | ||
Perry pushes the green 'space' button. | ||
CF ] Living Room | ||
CF | [Press any key to continue.] | ||
CF | | ||
CF | Living Room | ||
CF | Claire suddenly gasps and sits bolt upright. | ||
CF | | ||
CF | "Are you alright?" You ask. "Back with us?" | ||
CF | | ||
CF | "Yeah, yeah I am," Claire says, pulling you into a hug. | ||
CF | | ||
CF | "How are you feeling?" Jen asks, sounding mildly concerned. | ||
CF | | ||
CF | Your conversation is interrupted by Claire's stomach growling loudly. | ||
CF | The four of you share a chuckle. | ||
CF | | ||
CF | "Hungry, I guess," Claire says. "Who's up for pizza rolls?" | ||
CF | | ||
CF | "That sounds perfect," you say. "Let's go heat some up." | ||
CF | | ||
CF | > | ||
Perry pushes the green 'space' button. | ||
CF ] Living Room | ||
CF | > | ||
CF | > | ||
CF | | ||
CF | I beg your pardon? | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Living Room | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Living Room | ||
CF | It's the same as it ever was. You, Tiff, and Jen are seated in a | ||
CF | circle on the floor, and Claire is laying down with her head in your | ||
CF | lap. You pulled the cushions from the couch to make sitting on the | ||
CF | floor more comfortable, and the TV is playing brown noise to help | ||
CF | Claire concentrate. | ||
CF | | ||
CF | You can see Claire here. | ||
CF | | ||
CF | > | Perry says, "Huh." | |
Knight_Otu says, "Not what I expected, that's for sure." | ||
DavidW says, "I never tried that." | ||
Perry says (to ClubFloyd), "x claire" | ||
CF ] Living Room | ||
CF | > | ||
CF | > X CLAIRE | ||
CF | | ||
CF | Claire, your kid sister. She wanted in on the sleepover, so she's | ||
CF | going to be your brave adventurer into the unknown. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Living Room | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | You, Tiffany, Jen, and Claire walk together through the door. The | ||
CF | memory of this shared night quickly fades into a rush of color and | ||
CF | light. | ||
CF | | ||
CF | And in that other world, something vast and suited lurks. | ||
CF | | ||
CF | | ||
CF | | ||
CF | *** Time for pizza rolls! *** | ||
CF | | ||
CF | | ||
CF | | ||
CF | Would you like to RESTART, RESTORE a saved game, QUIT, or UNDO the | ||
CF | last command? | ||
CF | > | Perry exclaims, "Well, we win. Good game!" | |
Perry says (to ClubFloyd), "RESTORE" | ||
Perry says (to ClubFloyd), "cf18" | ||
CF | > | ||
CF | > RESTORE | ||
CF | %% Enter a save filename to read: | ||
CF ] Among the Trees | ||
CF | Story restored. | ||
CF | | ||
CF | > | Knight_Otu says, "Well, that's more like it." | |
Perry says (to ClubFloyd), "l" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Among the Trees | ||
CF | Alright, I'm just past the tree line. There's some mist, kind of like | ||
CF | a carpet. There are transmission towers dotted around. | ||
CF | | ||
CF | The path bends here—I can follow it back west to the glen, or | ||
CF | take it north further into the forest. | ||
CF | | ||
CF | > | DavidW says, "yeah, the game ended quickly after waking up. Okay. Now we know." | |
Perry says (to ClubFloyd), "x towers" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > X TOWERS | ||
CF | | ||
CF | They look like they haven't been maintained—they're all rusted and | ||
CF | leaning at dangerous angles. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb towers" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > CLIMB TOWERS | ||
CF | | ||
CF | I haven't seen one with a ladder. | ||
CF | | ||
CF | (The wind picks up outside.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Misty Path | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Misty Path | ||
CF | The mist is a lot thicker here. Everything looks like it's early | ||
CF | morning. It's hard to see very far, but I can tell there are more | ||
CF | transmission towers mixed in with the trees. | ||
CF | | ||
CF | The path bends again here—I can follow it back south towards | ||
CF | the glen, or take it east. | ||
CF | | ||
CF | (Outside, you hear an owl call.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] Misty Path | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | All I can really hear from the real world is your voices. I can't tell | ||
CF | what else is going on out there. | ||
CF | | ||
CF | > | DavidW says, "There is a climbable tower near here. It's pretty obvious when you find it." | |
Perry exclaims, "Yay!!" | ||
Perry says (to ClubFloyd), "x towers" | ||
CF ] Misty Path | ||
CF | > | ||
CF | > X TOWERS | ||
CF | | ||
CF | They look pretty unmaintained—they're all rusted and leaning at | ||
CF | pretty | ||
CF | big angles. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Edge of the Trees | ||
CF | The mist and the trees both thin out here. There are more transmission | ||
CF | towers dotted around, but what looks like the mother of them all is up | ||
CF | ahead. | ||
CF | | ||
CF | I can go back west to the misty path, north to what | ||
CF | looks like a beach, or east to what looks like a field. | ||
CF | | ||
CF | (Jen sniffs.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x mother" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > X MOTHER | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x towers" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > X TOWERS | ||
CF | | ||
CF | They look pretty unmaintained—they're all rusted and leaning at | ||
CF | extreme angles. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Field, west side | ||
CF | Okay, I'm standing at the west end of a field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | back west to the edge of the trees, or northwest to the | ||
CF | beach. There's a buzzing noise nearby. There's a big tower to the | ||
CF | east. | ||
CF | | ||
CF | > | Perry says, "This is already feeling like a big map" | |
Perry says (to ClubFloyd), "listen" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | All I can really hear from the real world is your voices. I can't tell | ||
CF | what else is going on out there. | ||
CF | | ||
CF | (Kiki wanders in.) | ||
CF | | ||
CF | > | Knight_Otu asks, "An electric buzz or an insect buzz?" | |
Perry says (to ClubFloyd), "listen to buzz" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > LISTEN TO BUZZ | ||
CF | | ||
CF | I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x noise" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > X NOISE | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | Perry says, "We'll never know." | |
Perry says (to ClubFloyd), "e" | ||
CF ] Base of the Tower | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Base of the Tower | ||
CF | I'm standing in the center of the field, and the base of the biggest | ||
CF | transmission tower I've ever seen. I can go north, | ||
CF | south, east, or west to other parts of the field. | ||
CF | There's also a ladder here I can use to climb up the tower. | ||
CF | There's a buzzing noise to the east. | ||
CF | | ||
CF | (Tiff adjusts her position.) | ||
CF | | ||
CF | > | DavidW says, "Yes, the map is sprawling and loops oddly. The buzzing is an insect on the east side of the field." | |
DavidW says, "There are content warnings for the game, and I think insects was one of them." | ||
Knight_Otu says, "It is a quasi-dream, so odd loops wouldn't be out of place." | ||
Perry says, "I've walked under giant transmission towers/power lines before. They do make a super super loud buzzing." | ||
DavidW says, "ah" | ||
DavidW says, "I've never been that close to one." | ||
Perry says, "It's pretty wild, honestly." | ||
Perry says, "Well, we were told to always go up." | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Climbing the Tower | ||
CF | I'm on the ladder that runs up the side of the biggest transmission | ||
CF | tower. The field is right below me, and the top is far above. I can go | ||
CF | up or down. | ||
CF | | ||
CF | (Tiff taps away at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Okay, I'll go higher. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Alright, I'll climb a little higher. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, okay, I'll keep climbing. | ||
CF | | ||
CF | (Jen taps at her phone.) | ||
CF | | ||
CF | > | Knight_Otu says, "Indeed." | |
Perry says, "What a thrilllll" | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Sure, I can go a little further. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Climbing the Tower | ||
CF | I'm on a ladder. I know the field is far below me, the top far above. | ||
CF | I can go up or down. The fog is thick, and I can't see | ||
CF | very far. | ||
CF | | ||
CF | (Outside, the wind whistles through the trees.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l d" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > L D | ||
CF | | ||
CF | The struts are huge. How tall is this thing? | ||
CF | | ||
CF | (Tiffany taps at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > L U | ||
CF | | ||
CF | There's nothing to see that way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, sure, I'll go a little higher. | ||
CF | | ||
CF | (Jen taps at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, sure, but I'm getting pretty high up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, okay, but the top doesn't seem to be getting any closer. | ||
CF | | ||
CF | (Kiki blinks languidly.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, sure, but I'm serious, this is way high. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Alright, but I don't think I'm actually making progress. | ||
CF | | ||
CF | (Kiki lets out her little choking meow.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, alright, but I don't like being this high. | ||
CF | | ||
CF | (Jen taps at her phone.) | ||
CF | | ||
CF | > | DavidW says, "Kiki is a cat." | |
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Sure, but I don't think I'll ever reach the top. | ||
CF | | ||
CF | (Tiffany tucks her hair behind her ear.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Uh, sure, but I don't really see the point. | ||
CF | | ||
CF | (Tiff chuckles at something on her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Um, okay, but I don't think I'm getting any closer. | ||
CF | | ||
CF | > | Perry says, "Okay, was wondering when it would repeat." | |
Perry says (to ClubFloyd), "d" | ||
CF ] Base of the Tower | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | Okay, so that's weird. I only took one step down, and I'm back on the | ||
CF | ground. | ||
CF | | ||
CF | Base of the Tower | ||
CF | This is the center of the field, and the base of the biggest | ||
CF | transmission tower I've ever seen. I can go north, | ||
CF | south, east, or west to other parts of the field. | ||
CF | There's also a ladder here I can use to climb up the tower. | ||
CF | There's a buzzing noise to the east. | ||
CF | | ||
CF | (Kiki blinks slowly.) | ||
CF | | ||
CF | > | DavidW says, "I couldn't reach the top of the tower, but I do have an idea how to do it." | |
Perry says (to ClubFloyd), "pet kiki" | ||
CF ] Base of the Tower | ||
CF | > | ||
CF | > PET KIKI | ||
CF | | ||
CF | (You run a hand over Kiki's soft spotted fur. She walks away, but | ||
CF | she's trained you well and you keep your hand held still in the air so | ||
CF | she can walk underneath it and get petted at her own pace.) | ||
CF | | ||
CF | (Tiffany snorts at something on her phone.) | ||
CF | | ||
CF | > | Perry exclaims, "Yay!" | |
DavidW says, "cool. I never tried that." | ||
Perry says, "Always try to pet the animals. Always." | ||
Knight_Otu says, "We can pet the cat - if she wants it." | ||
Perry asks, "I don't have any particular preference to go. Anything you want to see KO?" | ||
Perry says, "preference of where to go, even." | ||
DavidW says, "yes, I know. I didn't realize we could do it from our position." | ||
DavidW says, "Visit the insect, please. It won't hurt you." | ||
Perry says, "I was hoping Claire would be the one who pet it, to be honest." | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Field, east side | ||
CF | This is the east end of the field. I can go west, | ||
CF | northwest, or southwest to other parts of the field. | ||
CF | That big tower's to the west. | ||
CF | | ||
CF | There's a giant fly here, and I mean giant. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x fly" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > X FLY | ||
CF | | ||
CF | It's a horsefly the size of... well, I guess, a horse. | ||
CF | | ||
CF | (Outside, you hear an owl call.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pet fly" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > PET FLY | ||
CF | | ||
CF | I tried, but it flew away. I think it's a bit skittish. | ||
CF | | ||
CF | (Tiffany's phone dings. She swipes the notification away.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to fly" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > TALK TO FLY | ||
CF | | ||
CF | I can't reach into Base of the Tower. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, east side | ||
CF | This is the east end of the field. I can go west, | ||
CF | northwest, or southwest to other parts of the field. | ||
CF | That horsefly's buzzing around to the west. That big tower's to the | ||
CF | west. | ||
CF | | ||
CF | The horsefly just arrived from the west. | ||
CF | | ||
CF | (Tiff taps away at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to fly" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > TALK TO FLY | ||
CF | | ||
CF | I don't think it speaks English. | ||
CF | | ||
CF | (Tiffany taps away at her phone.) | ||
CF | | ||
CF | > | Knight_Otu says, "Interesting." | |
Perry says, "Huuuuh." | ||
Perry says, "By the way, screw horseflies." | ||
DavidW says, "My idea is that maybe, somehow, we can ride the horse(fly) to the top of the tower." | ||
Perry says (to ClubFloyd), "climb fly" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > CLIMB FLY | ||
CF | | ||
CF | I tried, but it flew away. I think it's a bit skittish. | ||
CF | | ||
CF | > | Knight_Otu says, "If we tame it somehow, can we ride it to...." | |
Perry says (to ClubFloyd), "l" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, east side | ||
CF | This is the east end of the field. I can go west, | ||
CF | northwest, or southwest to other parts of the field. | ||
CF | That horsefly's hovering around to the west. That big tower's to the | ||
CF | west. | ||
CF | | ||
CF | The horsefly just showed up from the west. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "jump on fly" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > JUMP ON FLY | ||
CF | | ||
CF | Uh, I only understood that you wanted me to jump. | ||
CF | | ||
CF | > | Perry says, "Maybe we'll find some uh. Human flesh to attract it with." | |
DavidW says, "I don't know how to tame it. Sugar cubes and apples are what horses in IF like." | ||
DavidW says, "Horseflies may like something else." | ||
Perry asks, "Oh, it's more of a horse than a horsefly?" | ||
Perry asks, "Have you not been near a horsefly before?" | ||
DavidW says, "It's a fly the size of a horse." | ||
Perry says, "Real-life horseflies are pure evil. They deserve ten times the hate that hornets and wasps unjustifiably get." | ||
DavidW says, "I've seen black flies. Don't know if they're horse flies or not." | ||
DavidW says, "anyway, this particular horsefly seems not evil." | ||
Perry says, "I think they might be similar but horseflies are more aggressive. But yes, this one seems more like a horse crossed with a fly." | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Field, east side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, east side | ||
CF | This is the east end of the field. I can go west, | ||
CF | northwest, or southwest to other parts of the field. | ||
CF | That big tower's to the west. | ||
CF | | ||
CF | There's a huge fly here. | ||
CF | | ||
CF | (Tiffany shifts her position.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "nw" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > NW | ||
CF | | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That horsefly's | ||
CF | wandering around to the southeast. That big tower's to the south. | ||
CF | | ||
CF | The horsefly just arrived from the southeast. | ||
CF | | ||
CF | (Tiff's phone vibrates. She taps the notification.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x door" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > X DOOR | ||
CF | | ||
CF | It's more like a gate, made of complicated wrought-iron swirls. It's | ||
CF | really pretty. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l n" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > L N | ||
CF | | ||
CF | Okay, so. I'm standing at the east end of a city street. There are | ||
CF | buildings to three sides: one with some heavy doors to the | ||
CF | north, one with an unassuming door to the east, and one | ||
CF | with an ornate door to the south. The street continues to the | ||
CF | west, and I can go down to the subway platform. | ||
CF | | ||
CF | > | Perry says, "What." | |
DavidW says, "The horsefly follows us while we're in the field." | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That big tower's to | ||
CF | the south. | ||
CF | | ||
CF | There's an absolutely massive fly here. | ||
CF | | ||
CF | (Tiff adjusts her position.) | ||
CF | | ||
CF | > | Perry asks, "Oh, so looking through the door describes the location but as if it was a look in that position. Is that the buggyness you mentioned?" | |
DavidW says, "yeah" | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That big tower's to | ||
CF | the south. | ||
CF | | ||
CF | There's an oversized fly here. | ||
CF | | ||
CF | (Headlights rake wall opposite the windows as a car drives past | ||
CF | outside.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s. s" | ||
CF ] Field, south side | ||
CF | > | ||
CF | > S. S | ||
CF | | ||
CF | | ||
CF | Base of the Tower | ||
CF | This is the center of the field, and the base of the biggest | ||
CF | transmission tower I've ever seen. I can go north, | ||
CF | south, east, or west to other parts of the field. | ||
CF | There's also a ladder here I can use to climb up the tower. | ||
CF | That horsefly's hovering around to the north. | ||
CF | | ||
CF | The horsefly just showed up from the north. | ||
CF | | ||
CF | (The wind howls.) | ||
CF | | ||
CF | Field, south side | ||
CF | This is the south end of the field. I can go north, | ||
CF | northeast, or northwest to other parts of the field. | ||
CF | That horsefly's wandering around to the north. That big tower's to the | ||
CF | north. | ||
CF | | ||
CF | The horsefly just showed up from the north. | ||
CF | | ||
CF | > | DavidW says, "It can get really confused and throw up errors in some cases." | |
Perry says (to ClubFloyd), "nw" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > NW | ||
CF | | ||
CF | | ||
CF | Field, west side | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or northwest to the | ||
CF | beach. That horsefly's buzzing around to the southeast. That big | ||
CF | tower's to the east. | ||
CF | | ||
CF | The horsefly just arrived from the southeast. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Edge of the Trees | ||
CF | The mist and the trees both begin here. There are some transmission | ||
CF | towers dotted around. | ||
CF | | ||
CF | I can go west to the misty path, north to what looks | ||
CF | like a beach, or back east to the western end of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Beach | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Beach | ||
CF | I'm standing on a beach. It's clearly way too cold for swimming, but I | ||
CF | can see a few boats out on the water. | ||
CF | | ||
CF | There's, like, a pile of radios, about chest-high. There's also an old | ||
CF | rusty bike lying on its side in the sand. | ||
CF | | ||
CF | I can go back south to the edge of the trees, or | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | > | Perry asks, "... a pile of radios?" | |
Perry says (to ClubFloyd), "x pile" | ||
CF ] Beach | ||
CF | > | ||
CF | > X PILE | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x radiosa" | ||
CF ] Beach | ||
CF | > | ||
CF | > X RADIOSA | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x radios" | ||
CF ] Beach | ||
CF | > | ||
CF | > X RADIOS | ||
CF | | ||
CF | They're stacked haphazardly, all different shapes and colors and | ||
CF | sizes. | ||
CF | | ||
CF | The radios are switched off right now. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on radios" | ||
CF ] Beach | ||
CF | > | ||
CF | > TURN ON RADIOS | ||
CF | | ||
CF | Okay, I've switched the radios on. | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "A hole at the center." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Beach | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | Sure, I'll wait a bit. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Beach | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Beach | ||
CF | I'm standing on a beach. I can see a few boats out on the water. | ||
CF | | ||
CF | There's a pile of radios, about chest-high. There's also that rusty | ||
CF | old bike lying on its side in the sand. | ||
CF | | ||
CF | I can go back south to the edge of the trees, or | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] Beach | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Being buried in unhallowed ground." | ||
CF | | ||
CF | > | DavidW says, "yeah. I turned one on. Dunno if you can just take one." | |
Perry says (to ClubFloyd), "get radio" | ||
CF ] Beach | ||
CF | > | ||
CF | > GET RADIO | ||
CF | | ||
CF | They're arranged so artfully—I don't want to dislodge any. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] Beach | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Swallowing hunger." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] Beach | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Places of violence." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] Beach | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Adolescent mistakes." | ||
CF | | ||
CF | > | Perry says, "Ummmmmm. So if this is all from Claire's brain..." | |
Perry says (to ClubFloyd), "listen" | ||
CF ] Beach | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Swallowing hunger." | ||
CF | | ||
CF | > | DavidW asks, "Claire seems to be acting out the role of the radio?" | |
Knight_Otu says, "But still." | ||
Perry says, "I think Claire needs to see a therapist." | ||
DavidW says, "And in a kinda disturbing way." | ||
Perry says (to ClubFloyd), "x bike" | ||
CF ] Beach | ||
CF | > | ||
CF | > X BIKE | ||
CF | | ||
CF | It's old, but it looks like it might still work. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get bike" | ||
CF ] Beach | ||
CF | > | ||
CF | > GET BIKE | ||
CF | | ||
CF | The bike is a bit too heavy for me to pick up, but I can always | ||
CF | RIDE it or PUSH it somewhere. | ||
CF | | ||
CF | > | DavidW says, "I have no idea what this is about." | |
Perry says (to ClubFloyd), "ride it" | ||
CF ] Beach | ||
CF | > | ||
CF | > RIDE IT | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Beach | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Beach (riding the bicycle) | ||
CF | I'm standing on a beach. I can see a few boats out on the water. | ||
CF | | ||
CF | There's a pile of radios, about chest-high. | ||
CF | | ||
CF | I can go back south to the edge of the trees, or | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | > | DavidW says, "I never used the bike." | |
DavidW says, "It must be used for something, though." | ||
Perry says (to ClubFloyd), "x boats" | ||
CF ] Beach | ||
CF | > | ||
CF | > X BOATS | ||
CF | | ||
CF | They look like old-fashioned canoes. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "enter boats" | ||
CF ] Beach | ||
CF | > | ||
CF | > ENTER BOATS | ||
CF | | ||
CF | The boats are out of reach. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "swim" | ||
CF ] Beach | ||
CF | > | ||
CF | > SWIM | ||
CF | | ||
CF | I don't want to go swimming in my pajamas. Besides, knowing this | ||
CF | place, a riptide might just drag me out to sea. | ||
CF | | ||
CF | > | Perry says, "'Knowing this place', interesting choice of words." | |
Perry says (to ClubFloyd), "se" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > SE | ||
CF | | ||
CF | | ||
CF | Field, west side (riding the bicycle) | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or back northwest to the | ||
CF | beach. That big tower's to the east. | ||
CF | | ||
CF | There's a real big fly here. | ||
CF | | ||
CF | > | Knight_Otu says, "It is." | |
Perry says (to ClubFloyd), "ne" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > NE | ||
CF | | ||
CF | | ||
CF | Field, north side (riding the bicycle) | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That horsefly's | ||
CF | hovering around to the southwest. That big tower's to the south. | ||
CF | | ||
CF | The horsefly just went northeast. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the ornate door) | ||
CF | Oh, this is weird. I just stepped through the door and now I'm on that | ||
CF | city street. | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | There's also, like, a plastic shopping bag blowing around the street. | ||
CF | | ||
CF | > | DavidW says, "Bag might be handy for carrying more stuff." | |
Perry says (to ClubFloyd), "x bag" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > X BAG | ||
CF | | ||
CF | It says 'Have A Great Day!' on the side. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get bag" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > GET BAG | ||
CF | | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x buildings" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > X BUILDINGS | ||
CF | | ||
CF | A bunch of buildings line the street on all sides. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x subway" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > X SUBWAY | ||
CF | | ||
CF | This looks like a subway platform, but it's deserted. There's a bench | ||
CF | and some ad panels lining one wall. On that same wall is what looks | ||
CF | like a map. There's what looks like a schedule? Maybe? Hanging from | ||
CF | the ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles are blocking the way to the | ||
CF | stairs up to the street. I can also go north to the glen | ||
CF | through the yellow door. | ||
CF | | ||
CF | > | Perry says, "Gonna explore the rest of the city first." | |
Perry says (to ClubFloyd), "w" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. There's been... oh, my God, | ||
CF | there's been a car accident here. It looks nasty. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | with... no door to the west. The street runs back to the | ||
CF | east. | ||
CF | | ||
CF | > | DavidW says, "and the rules say you're not supposed to go down if you can help it" | |
Perry says, "Oh, right. So I'd like to obviously go down." | ||
Perry says (to ClubFloyd), "x no door" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X NO DOOR | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | Knight_Otu says, "I think our sister really needs a few therapy sessions." | |
DavidW says, "I don't think it would hurt, but I dunno." | ||
Perry says (to ClubFloyd), "x west" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X WEST | ||
CF | | ||
CF | I see nothing unexpected in that direction. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | hollow skeleton (riding the bicycle) | ||
CF | Okay, so maybe saying this is a 'building' might be exaggerating a | ||
CF | little. It's more like a skeleton, like they got the frame up and | ||
CF | called it good. It's a lattice of metal struts stretching from the | ||
CF | bare dirt up to the sky. The wind is whistling through them. I can go | ||
CF | back to the street to the east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street runs back to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf19" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Street, by the subway entrance | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | DavidW asks, "okay, this is new. What was that skeleton?" | |
Perry says (to ClubFloyd), "w" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street runs back to the | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | hollow skeleton (riding the bicycle) | ||
CF | This is the half-finished skeleton of a building, like they got the | ||
CF | frame up and called it good. A lattice of metal struts stretching from | ||
CF | the bare dirt up to the sky. The wind whistles through them. I can go | ||
CF | back to the street to the east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x frame" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > X FRAME | ||
CF | | ||
CF | It seems solid enough. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x struts" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > X STRUTS | ||
CF | | ||
CF | It seems solid enough. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > CLIMB | ||
CF | | ||
CF | What do you want me to climb? | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "skeleton" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > SKELETON | ||
CF | | ||
CF | The struts are too far apart for me to climb. | ||
CF | | ||
CF | > | Perry says, "Think it's just an unfinished building." | |
DavidW says, "oh. Skeleton of a building. You were there and out so fast, I couldn't read it." | ||
Perry says, "I just got distracted by the prospect of going down." | ||
Perry says (to ClubFloyd), "e. e. d" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > E. E. D | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street runs back to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Okay, but I can't descend while also riding the bike, so I'll have to | ||
CF | leave it here. | ||
CF | So, I went down the stairs but the turnstiles won't budge. I'm gonna | ||
CF | go back up to the street. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x turnstiles" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > X TURNSTILES | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | So, I went down the stairs but the turnstiles won't budge. I'm gonna | ||
CF | go back up to the street. | ||
CF | | ||
CF | > | Perry says, "Would've liked to jump them." | |
Perry says (to ClubFloyd), "ride bike" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > RIDE BIKE | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | (first opening the unassuming door) | ||
CF | | ||
CF | Empty Space (riding the bicycle) | ||
CF | Uh, yeah. There's nothing in here. It's just a big empty room. Suuuper | ||
CF | high ceiling, though. Like, forty feet maybe. Wood paneled walls, | ||
CF | green carpeted floor. I can go back out to the street to the | ||
CF | west. | ||
CF | | ||
CF | Oh, there's also a clock in the corner. | ||
CF | | ||
CF | > | DavidW says, "I never tried the unassuming door." | |
DavidW says, "CLOCKS ARE TRAPS" | ||
DavidW asks, "Isn't that one of the rules?" | ||
Perry says, "Yes." | ||
Perry says, "So let's hang out here a bit, I think." | ||
Perry says (to ClubFloyd), "x floor" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > X FLOOR | ||
CF | | ||
CF | It's super thin. I can feel that the floor underneath it is hard. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | I can't go that way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > X CLOCK | ||
CF | | ||
CF | It's an old grandfather clock, taller than I am. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "push clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > PUSH CLOCK | ||
CF | | ||
CF | It's bigger than I am. There's no way I can move it. | ||
CF | | ||
CF | > | DavidW asks, "move carpet?" | |
Perry says (to ClubFloyd), "move carpet" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > MOVE CARPET | ||
CF | | ||
CF | It's fixed in place. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pull carpet" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > PULL CARPET | ||
CF | | ||
CF | The green carpet won't budge. I can't move it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x walls" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > X WALLS | ||
CF | | ||
CF | Looks like what I think the nineties looked like. Fake horizontal | ||
CF | boards all the way up the wall and across the ceiling. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x boards" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > X BOARDS | ||
CF | | ||
CF | Looks like what I think the nineties looked like. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pull boards" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > PULL BOARDS | ||
CF | | ||
CF | The wood paneling won't budge. I can't move it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "read clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > READ CLOCK | ||
CF | | ||
CF | It's actually really pretty. It looks antique. | ||
CF | | ||
CF | > | DavidW asks, "Does the clock open?" | |
Perry says (to ClubFloyd), "open clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > OPEN CLOCK | ||
CF | | ||
CF | I can't see any way to open the front. I will never get to be inside. | ||
CF | | ||
CF | > | Knight_Otu says, "I was about to ask." | |
Perry says, "Why would you want-- hm." | ||
Perry says (to ClubFloyd), "touch clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > TOUCH CLOCK | ||
CF | | ||
CF | Smooth. Cool. Majestic. Perfection. | ||
CF | | ||
CF | > | Perry says, "Accurate adjectives of a grandfather clock." | |
Perry says (to ClubFloyd), "kick clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > KICK CLOCK | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | Perry says, "Hmm." | |
Knight_Otu says, "Odd, this." | ||
Perry says (to ClubFloyd), "i" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > I | ||
CF | | ||
CF | Here's what I'm carrying: | ||
CF | a plastic bag | ||
CF | a camera | ||
CF | my flannel PJs (being worn) | ||
CF | | ||
CF | > | DavidW says, "It doesn't seem like a trap." | |
Perry says (to ClubFloyd), "click clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > CLICK CLOCK | ||
CF | | ||
CF | Okay. Now I have a photo of the clock, I guess. | ||
CF | | ||
CF | > | Perry asks, "Do we have infinite film?" | |
DavidW says, "dunno" | ||
Perry says (to ClubFloyd), "click me" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > CLICK ME | ||
CF | | ||
CF | (Emily) | ||
CF | (Emily is in the real world, and thus out of range of the camera's | ||
CF | lens.) | ||
CF | | ||
CF | > | DavidW says, "I found the camera but my computer crashed before I could use it." | |
Perry exclaims, "Spooky!" | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | I'll wait a bit. | ||
CF | | ||
CF | > | Perry says, "Well, awful trap." | |
Perry says (to ClubFloyd), "w" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | Sure, but I've gotta open the heavy doors before I can go through | ||
CF | them. | ||
CF | | ||
CF | There's no keyhole on the heavy doors. It's this chain that's keeping | ||
CF | me from opening them. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x chain" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > X CHAIN | ||
CF | | ||
CF | It's wrapped around the door handles, keeping them closed. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pull chain" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > PULL CHAIN | ||
CF | | ||
CF | The tangled chain won't budge. I can't move it. | ||
CF | | ||
CF | > | DavidW says, "hm. Didn't explore there either." | |
Perry asks, "It's... linked to itself?" | ||
Perry says, "I'm confused on how the chain is in the door handles." | ||
DavidW says (to ClubFloyd), "untie chain" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > UNTIE CHAIN | ||
CF | | ||
CF | The tangled chain already isn't tied to anything. | ||
CF | I'm gonna need to know what other thing you want me to do that with. | ||
CF | Like, I need a second noun. | ||
CF | | ||
CF | > | Perry says, "I love how the system messages have filler 'likes' in them." | |
Perry says (to ClubFloyd), "untie chain from door" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > UNTIE CHAIN FROM DOOR | ||
CF | | ||
CF | Uh, which do you mean, the unassuming door or the ornate door? | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "ornate" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > ORNATE | ||
CF | | ||
CF | The tangled chain and the ornate door aren't tied together. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "untie chain from handles" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > UNTIE CHAIN FROM HANDLES | ||
CF | | ||
CF | It's way too tangled—I wouldn't know where to start. | ||
CF | | ||
CF | > | DavidW says, "I think we need bolt cutters or something similar. Maybe acid." | |
Perry says, "Probably." | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street runs back to the | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Lobby | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Lobby (riding the bicycle) | ||
CF | This looks like the lobby of an office building, but cleared of all | ||
CF | furniture. No desk, no chairs, no couches, nothing. There's an | ||
CF | elevator in one wall, though, and a stairwell leading up. I can | ||
CF | also go back out through the revolving door to the south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x door" | ||
CF ] Lobby | ||
CF | > | ||
CF | > X DOOR | ||
CF | | ||
CF | These are so fun. It's glass and goes in a circle. | ||
CF | | ||
CF | > | DavidW says, "never saw any of this either." | |
Perry says, "I should've warned I'm very completionistic." | ||
Perry says (to ClubFloyd), "x elevator. x stairwell" | ||
CF ] Lobby | ||
CF | > | ||
CF | > X ELEVATOR. X STAIRWELL | ||
CF | | ||
CF | It looks like a pair of elevator doors. There's no button, though, and | ||
CF | the lights over top are dark. | ||
CF | | ||
CF | They go up. | ||
CF | | ||
CF | > | DavidW says, "so am I but I had a computer snafu and didn't get back to the game yet." | |
Perry says (to ClubFloyd), "u" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Okay, but I can't climb while also riding the bike, so I'll have to | ||
CF | leave it here. | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | Okay, so this looks like a waiting room. There are glass doors on the | ||
CF | far wall, and through them I can see a bunch of guys in suits sitting | ||
CF | around a long table. There's a guy sitting behind a desk in front of | ||
CF | the doors, and- oh wait, he sees me. He's standing up. He- | ||
CF | | ||
CF | (Claire's voice abruptly shifts to one that's unfamiliar, and | ||
CF | about an octave lower.) "Oh, great, you're here," (she says | ||
CF | in that nasal tenor.) "Where's your father?" | ||
CF | | ||
CF | 1) Tiffany snorts. "Who's this nerd?" | ||
CF | 2) "Your father?" Jen sounds concerned. "What does this guy mean?" | ||
CF | | ||
CF | 3) You could tell him that your dad is dead. | ||
CF | 4) You could also ask where to find him. | ||
CF | | ||
CF | > | Perry says, "Uh oh." | |
Perry says, "Man in suit means we run." | ||
DavidW asks, "Isn't a rule to RUN from men in suits?" | ||
Perry says (to ClubFloyd), "run" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > RUN | ||
CF | | ||
CF | (Claire hesitates for a moment, then parrots your words back to | ||
CF | you. Seems like you'll have to see this conversation through.) | ||
CF | | ||
CF | > | Knight_Otu says, "Conversations often mean no other commands." | |
Jade has arrived. | DavidW says, "hi Jade" | |
Perry says, "I'm confused about the conservation options. The first two are quotes from other people, but the last two are what I'd expect." | ||
Knight_Otu says, "Hey Jade." | ||
DavidW says, "We're playing Red Door Yellow Door from Spring Thing 2023." | ||
Perry says, "Hi Jade. We're playing a game about doors. We're playing a game with a friend, Claire, who's in a pseudo-dream and describing to us what she sees. We're supposed to go up when we can, to not go down, to run from men with suits (whom we just ran into), and uh... I think that's it." | ||
Knight_Otu asks (of Perry), "I think they're saying it regardless, and we choose which to relay?" | ||
Perry says, "I think I want to do 2, then." | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "What- what do you mean?" (Claire asks.) | ||
CF | | ||
CF | "He's needed for the meeting," (She responds in the nasal | ||
CF | voice.) "This is a big deal, Claire, you know that." | ||
CF | | ||
CF | 1) "No but for real," Tiffany says. "Who is this | ||
CF | guy?" | ||
CF | 2) You could also tell him that your dad is dead. | ||
CF | 3) You could also ask where to find him. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "Sorry," (Claire says.) "Who are you?" | ||
CF | | ||
CF | "Of course you don't remember me. No one remembers the intern," | ||
CF | (she mutters in the lower voice.) "I'm Charlie. We've met | ||
CF | before. Where's your dad?" | ||
CF | | ||
CF | 1) You could also tell him that your dad is dead. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You tell Claire to relay the message.) | ||
CF | | ||
CF | "My dad's dead," (Claire says.) "He was in a car accident." | ||
CF | | ||
CF | "That's not funny," (She snaps in the nasal tenor.) "I saw | ||
CF | the accident down on the street. I saw it through the window. And I | ||
CF | saw him get out of his car, perfectly fine." | ||
CF | | ||
CF | 1) You could also ask where to find him. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "Where do I find him?" (Claire asks.) | ||
CF | | ||
CF | "If I remember right," (the lower voice muses,) "he's tied up | ||
CF | in your basement." | ||
CF | | ||
CF | 1) "The basement? | ||
CF | " Tiff snorts. "How'd he get there?" | ||
CF | 2) "How does he know that?" Jen seems agitated. "If he's been up | ||
CF | here, how could he know that your 'dad'"—her tone places doubt on the | ||
CF | word—"is tied up in a basement?" | ||
CF | 3) "Also, why is he tied up?" Jen adds. | ||
CF | | ||
CF | > | Jade says, "ok" | |
Perry says, "Wot." | ||
Knight_Otu says, "Oh dear." | ||
Perry says (to ClubFloyd), "3" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 3 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | Why would he be tied up?" (Claire asks.) | ||
CF | | ||
CF | "Well, I suppose someone must have tied him," (she replies | ||
CF | blithely.) | ||
CF | | ||
CF | 1) "But tying him up?" Tiffany is clearly very invested in this. | ||
CF | "Why would someone do that?" | ||
CF | 2) You could also ask why the intern can't go get your father | ||
CF | himself. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "Why would someone do that?" (Claire pushes.) "Tie him up in | ||
CF | a basement?" | ||
CF | | ||
CF | "Oh, you know the business world," (the nasal tenor says breezily, | ||
CF | as if it's a well-known adage.) "Everyone has ulterior motives. | ||
CF | Sometimes they go to extremes." | ||
CF | | ||
CF | 1) "And what kind of work, exactly, would involve that kind of | ||
CF | retribution?" Jen asks, with the air of a TV lawyer leading a witness | ||
CF | to self-incrimination. | ||
CF | 2) You could ask why the intern can't go get your father | ||
CF | himself. | ||
CF | 3) You could also tell Claire to end the conversation. | ||
CF | | ||
CF | > | Perry says, "So now we can probably run away." | |
DavidW says, "I dunno. I'd like more info." | ||
Perry says, "Same." | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "And what kind of work are you all doing, exactly?" (Claire | ||
CF | asks.) | ||
CF | | ||
CF | (She sighs in the lower voice.) "No offense," (she | ||
CF | says,) "because I'm sure you're very clever, but you're still a | ||
CF | kid and it's a bit too complicated for me to explain to you right | ||
CF | now." | ||
CF | | ||
CF | ("Jerk," Jen mutters, sounding wounded.) | ||
CF | | ||
CF | 1) You could ask why the intern can't go get your father | ||
CF | himself. | ||
CF | 2) You could also tell Claire to end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "Why can't you go get him?" (Claire challenges.) | ||
CF | | ||
CF | "Claire," (she says in the nasal tenor, now sounding clipped and | ||
CF | irritated.) "The majority of the board is here, and I've got to | ||
CF | wrangle them—not an easy feat, mind you. Who knows what | ||
CF | would | ||
CF | happen if I'm not here to keep them calm?" | ||
CF | | ||
CF | 1) "Didn't Claire say she could see the guys in the other room | ||
CF | through the glass door? She said they were just sitting around," Tiff | ||
CF | points out, "not agitated at all." | ||
CF | 2) You could also tell Claire to end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the observation to Claire.) | ||
CF | | ||
CF | "They don't seem agitated," (Claire asserts.) | ||
CF | | ||
CF | "Yeah, Claire," (by the deeper voice's tone, the intern seems to | ||
CF | have lost his patience.) "And I'd really rather keep it that way, | ||
CF | if it's all the same to you." | ||
CF | | ||
CF | 1) You could tell Claire to end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You tell Claire to end the conversation.) | ||
CF | | ||
CF | "Alright, I'll see if I can find him," (Claire says.) | ||
CF | | ||
CF | "Don't come back without him!" (The lower voice says, not quite | ||
CF | sing-song enough to come off as a joke.) | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf20" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Waiting Room | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the fancy doors) | ||
CF | The intern is standing in my way. Oh, now he's giving me a look. | ||
CF | Sorry, Char. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the fancy doors) | ||
CF | Charlie is blocking my way. He's telling me 'no' with his eyes. Sorry, | ||
CF | Chuck. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the fancy doors) | ||
CF | The intern is standing in my way. Now he's giving me a look. Sorry, | ||
CF | Chuck. | ||
CF | | ||
CF | > | Perry says, "Aww." | |
Perry says (to ClubFloyd), "d. u" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > D. U | ||
CF | | ||
CF | | ||
CF | Lobby | ||
CF | It's the lobby of an office building, but cleared of all furniture. | ||
CF | There's an elevator in one wall, and a stairwell leading back | ||
CF | up. I can also go out through the revolving door to the | ||
CF | south. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to intern" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > TALK TO INTERN | ||
CF | | ||
CF | "Hey, uh," (Claire says.) | ||
CF | | ||
CF | "What?" (She responds in the intern's nasal tenor.) | ||
CF | | ||
CF | 1) You could ask him to tell you where to look again. | ||
CF | 2) You could ask him how his day is. | ||
CF | 3) You could ask him what the meeting's about. | ||
CF | 4) You could also end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "How's your day going?" (Claire asks.) | ||
CF | | ||
CF | (The lower voice sighs.) "Stressful, to be honest. This | ||
CF | meeting needs to go off without a hitch and one of the major players | ||
CF | isn't here." | ||
CF | | ||
CF | 1) You could ask him to tell you where to look again. | ||
CF | 2) You could ask him how his day is. | ||
CF | 3) You could ask him what the meeting's about. | ||
CF | 4) You could also end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "3" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 3 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "What's the meeting about?" (Claire asks.) | ||
CF | | ||
CF | "I'm afraid that's need-to-know," (the lower voice replies.) | ||
CF | "As in, I don't know." (Tiff snorts.) | ||
CF | | ||
CF | 1) You could ask him to tell you where to look again. | ||
CF | 2) You could ask him how his day is. | ||
CF | 3) You could ask him what the meeting's about. | ||
CF | 4) You could also end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "Where did you say I should look for my dad, again?" (Claire | ||
CF | asks.) | ||
CF | | ||
CF | "In your basement," (the lower voice supplies.) | ||
CF | | ||
CF | 1) You could ask him to tell you where to look again. | ||
CF | 2) You could ask him how his day is. | ||
CF | 3) You could ask him what the meeting's about. | ||
CF | 4) You could also end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "4" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 4 | ||
CF | | ||
CF | (You tell Claire to end the conversation.) | ||
CF | | ||
CF | "Alright, that's all I got. See you later," (Claire says.) | ||
CF | | ||
CF | "Don't come back without your father!" (The lower voice says, not | ||
CF | quite sing-song enough to come off as a joke.) | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Atop a Skyscraper | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Atop a Skyscraper | ||
CF | I'm standing on the concrete roof of the office building. This must be | ||
CF | the shortest skyscraper on the block, because I can't see over any of | ||
CF | the other buildings. Stairs lead back down. | ||
CF | | ||
CF | There's a charred scrap of paper fluttering in a crevice. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x paper" | ||
CF ] Atop a Skyscraper | ||
CF | > | ||
CF | > X PAPER | ||
CF | | ||
CF | There's some writing on it. Lemme read it out. It says: | ||
CF | | ||
CF | "If you found this where I put it and you seek what I sought, know you | ||
CF | haven't gone high enough yet. | ||
CF | | ||
CF | "I managed to trap him. For your sake, I hope you found this note | ||
CF | before he's freed. He won't let you escape once he's free, but I made | ||
CF | a failsafe. Had to give up a lot to create it, so don't let it go to | ||
CF | waste. | ||
CF | | ||
CF | "You'll need to find a way to get to the highest point. I made that, | ||
CF | too, but you'll need to lure it to you somehow. I can't write how | ||
CF | here. I'm certain he won't figure it out on his own, but I can't risk | ||
CF | him finding this paper. If he's free, the highest point is the only | ||
CF | place you can escape from. | ||
CF | | ||
CF | "Good luck, fellow traveler." | ||
CF | | ||
CF | > | Perry says, "Well that's interesting. So that seems like it's sort of talking about the horsefly, but I'm not sure." | |
Perry says, "The highest point is probably the transmission line." | ||
DavidW asks, "Also, is the basement in this world or in the real world?" | ||
DavidW says (to Perry), "yes" | ||
Knight_Otu says, "Did we say a few therapy sessions for Claire? I think she needs several." | ||
Perry says, "So there's an 'it' and a 'him'. Both seem animate." | ||
Perry says (to ClubFloyd), "get paper" | ||
CF ] Atop a Skyscraper | ||
CF | > | ||
CF | > GET PAPER | ||
CF | | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d. d." | ||
CF ] Lobby | ||
CF | > | ||
CF | > D. D. | ||
CF | | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | Lobby | ||
CF | It's the lobby of an office building, but cleared of all furniture. | ||
CF | There's an elevator in one wall, and a stairwell leading back | ||
CF | up. I can also go out through the revolving door to the | ||
CF | south. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "ride bike" | ||
CF ] Lobby | ||
CF | > | ||
CF | > RIDE BIKE | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | Jade says, "it seems so" | |
DavidW asks, "I think there were other buildings near here?" | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | > | Perry says, "The only one we haven't done is south." | |
Perry says (to ClubFloyd), "s" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | Uh, so there's water leaking around the edges of the sturdy door, and | ||
CF | it's bulging out from the wall slightly. I don't think it would be a | ||
CF | good idea to open it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | (first opening the sturdy door) | ||
CF | It's already creaking trying to hold back however much water. I don't | ||
CF | think opening it would be a good idea. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | (first opening the sturdy door) | ||
CF | It's already creaking trying to hold back however much water. I don't | ||
CF | think opening it would be a good idea. | ||
CF | | ||
CF | > | Perry says, "Huh." | |
Perry says (to ClubFloyd), "l" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Street, at the far end from the subway platform (riding the | ||
CF | bicycle) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x accident" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X ACCIDENT | ||
CF | | ||
CF | It's a red minivan and a yellow... uh, normal car. ("Sedan," Jen | ||
CF | supplies.) It's pretty bad. Looks like they hit each other | ||
CF | head-on. | ||
CF | | ||
CF | > | Perry says, "Me with car names/types as well." | |
Perry says (to ClubFloyd), "x minivan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X MINIVAN | ||
CF | | ||
CF | The hood is crumpled and the windshield is shattered. It's a wreck. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x sedan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X SEDAN | ||
CF | | ||
CF | This one's messed up even worse than the other. The hood's crumpled | ||
CF | and the mirrors are all the way gone. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l in it" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > L IN IT | ||
CF | | ||
CF | Looks pretty normal from out here. | ||
CF | | ||
CF | > | DavidW says, "You can retrace your steps to the glen and try the doors. One goes to the subway station. I don't know where the other goes." | |
Perry says, "Ah, alright. I was thinking they led to totally different places." | ||
Perry says (to ClubFloyd), "l in minivan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > L IN MINIVAN | ||
CF | | ||
CF | Looks pretty normal from out here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "open sedan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > OPEN SEDAN | ||
CF | | ||
CF | Alright, it's open. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "enter sedan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > ENTER SEDAN | ||
CF | | ||
CF | (okay, first getting off the bicycle) | ||
CF | I'm in the sedan. | ||
CF | | ||
CF | > | DavidW asks, "enter them?" | |
Perry says (to ClubFloyd), "l" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Street, at the far end from the subway platform (in the sedan) | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | I would have to get out of the sedan first. | ||
CF | | ||
CF | > | Perry says, "Hmm" | |
Perry says, "No evidence that it's our 'dad' who was in this accident still." | ||
DavidW asks, "no seats, glove compartment?" | ||
Perry says (to ClubFloyd), "x glove compartment" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X GLOVE COMPARTMENT | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x seat" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X SEAT | ||
CF | | ||
CF | (the bicycle) | ||
CF | It's old, but it looks like it might still work. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x car seat" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X CAR SEAT | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x car" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X CAR | ||
CF | | ||
CF | (the sedan) | ||
CF | This one's messed up even worse than the other. The hood's crumpled | ||
CF | and the mirrors are all the way gone. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "enter minivan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > ENTER MINIVAN | ||
CF | | ||
CF | I can't get into the minivan while it's closed. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "open minivan. enter minivan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > OPEN MINIVAN. ENTER MINIVAN | ||
CF | | ||
CF | I've opened the minivan. There's... oh, my God, there's a corpse | ||
CF | inside. | ||
CF | | ||
CF | (okay, first getting out of the sedan) | ||
CF | (okay, first | ||
CF | *** Run-time problem P47 (at paragraph 1 in the source text): Phrase | ||
CF | applied to an incompatible kind of value. | ||
CF | | ||
CF | ) | ||
CF | But I am not in anything. | ||
CF | | ||
CF | > | Perry says, "We win!! Oops that's a corpse." | |
Knight_Otu says, "Uh oh." | ||
Jade exclaims, "oops!" | ||
Perry says (to ClubFloyd), "x corpse" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X CORPSE | ||
CF | | ||
CF | It's a guy. He must have been driving the van. I... I think he's dead. | ||
CF | | ||
CF | > | Perry says, "Time to do the good ol' IF protagonist thing of frisking the dead and trying to take them with us." | |
Perry says (to ClubFloyd), "search corpse" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > SEARCH CORPSE | ||
CF | | ||
CF | There's no way I'm touching a corpse. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pull corpse" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > PULL CORPSE | ||
CF | | ||
CF | There's no way I'm touching a corpse. | ||
CF | | ||
CF | > | Perry says, "Or not." | |
Perry says (to ClubFloyd), "enter minivan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > ENTER MINIVAN | ||
CF | | ||
CF | I'm in the minivan. | ||
CF | | ||
CF | There's a corpse in here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x corpse" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X CORPSE | ||
CF | | ||
CF | I think he's dead. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x glove compartment. x seats." | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X GLOVE COMPARTMENT. X SEATS. | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | DavidW says, "You could click corpse" | |
Perry says (to ClubFloyd), "click corpse" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > CLICK CORPSE | ||
CF | | ||
CF | That feels kind of morbid. I don't think I want to. | ||
CF | | ||
CF | > | Perry says, "Good guess." | |
DavidW says, "or not" | ||
Perry says (to ClubFloyd), "sniff corpse" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > SNIFF CORPSE | ||
CF | | ||
CF | Gross, no. | ||
CF | | ||
CF | > | Knight_Otu says, "Hm." | |
DavidW says, "guess we weren't really meant to enter these." | ||
Perry says (to ClubFloyd), "out" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > OUT | ||
CF | | ||
CF | I'm out of the minivan. | ||
CF | | ||
CF | Street, at the far end from the subway platform | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "ride bike" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > RIDE BIKE | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | Perry says, "Don't think there's anything else to do here." | |
Perry says, "I'm curious why the clock room wasn't a trap." | ||
DavidW says, "Probably a bat pole behind it when you pull the bust open." | ||
Perry says, "I assume that's a reference I'm supposed to get." | ||
DavidW says, "Batman tv show from the 60s." | ||
Perry says (to ClubFloyd), "xyzzy" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > XYZZY | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | Perry says, "Almost forgot to try that. Usually my first command." | |
Knight_Otu exclaims, "Holy old tv shows,Batman!" | ||
Perry asks, "Okay, back to the glen?" | ||
DavidW says, "yes please" | ||
Perry says (to ClubFloyd), "walk to glen" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > WALK TO GLEN | ||
CF | | ||
CF | I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "find glen" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > FIND GLEN | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | Perry says, "Worth a shot." | |
Perry says (to ClubFloyd), "e" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street runs back to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | Yep, I just stepped through and now I'm back in the field. | ||
CF | | ||
CF | Field, north side (riding the bicycle) | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That big tower's | ||
CF | to the south. | ||
CF | | ||
CF | There's an absolutely massive fly here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "sw" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > SW | ||
CF | | ||
CF | | ||
CF | Field, west side (riding the bicycle) | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or northwest to the | ||
CF | beach. That horsefly's wandering around to the northeast. That big | ||
CF | tower's to the east. | ||
CF | | ||
CF | The horsefly just went southwest. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Edge of the Trees (riding the bicycle) | ||
CF | The mist and the trees both begin here. There are some transmission | ||
CF | towers dotted around. | ||
CF | | ||
CF | I can go west to the misty path, north to the beach, or | ||
CF | back east to the western end of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Misty Path | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Misty Path (riding the bicycle) | ||
CF | The mist is a lot thicker here. Everything looks like it's early | ||
CF | morning. There are transmission towers mixed in with the trees. | ||
CF | | ||
CF | The path bends here—I can follow it south towards the glen, or | ||
CF | take it back east towards that big tower. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Among the Trees (riding the bicycle) | ||
CF | Okay, I'm nearing the edge of the trees. The mist is thinner here, and | ||
CF | lower to the ground. There are transmission towers dotted around. | ||
CF | | ||
CF | The path bends again here—I can follow it west to the glen, or | ||
CF | take it back north further into the forest. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Glen | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Glen (riding the bicycle) | ||
CF | I'm standing in a glen, and there are two doors. One door is red, and | ||
CF | the other is yellow. It doesn't seem like anything is behind them. | ||
CF | | ||
CF | The glen is covered in snow, and all the trees are bare. I don't feel | ||
CF | the cold. Oh, there's sort of a trampled path leading off into the | ||
CF | trees to the east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x snow" | ||
CF ] Glen | ||
CF | > | ||
CF | > X SNOW | ||
CF | | ||
CF | There's a thin layer of it covering the ground as far as I can see. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "open red" | ||
CF ] Glen | ||
CF | > | ||
CF | > OPEN RED | ||
CF | | ||
CF | (the Uncanny Living Room) | ||
CF | Alright, it's open. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l in red" | ||
CF ] Glen | ||
CF | > | ||
CF | > L IN RED | ||
CF | | ||
CF | (the Uncanny Living Room) | ||
CF | Uh. Oh, this is weird. This is our living room. Like, the room we're | ||
CF | in right now. But something's off about it. I can't put my finger on | ||
CF | what. It's like it normally is, with the pillows and blanket on the | ||
CF | couch and the TV switched off. The exit's where it normally is, but | ||
CF | right now I can somehow tell it's to the east. Also, that red | ||
CF | door leads south. | ||
CF | | ||
CF | > | Perry says, "OH." | |
DavidW says, "Never tried this door." | ||
Perry says, "Claire needs more therapy sessions. That's where our dad will be." | ||
Perry says (to ClubFloyd), "enter yellow" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > ENTER YELLOW | ||
CF | | ||
CF | (first opening the yellow door) | ||
CF | | ||
CF | Subway Platform (riding the bicycle) | ||
CF | It's the subway platform, but deserted. There's a bench, some ad | ||
CF | panels, and a map lining one wall. There's a schedule hanging from the | ||
CF | ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles are blocking the way to the | ||
CF | stairs up to the street. I can also go back north to the | ||
CF | glen through the yellow door. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf21" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Subway Platform | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), ";I'm suspicious of the tracks being down from us." | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > ;I'M SUSPICIOUS OF THE TRACKS BEING DOWN FROM US. | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | Perry says, "I'm suspicious of the tracks being down from us." | |
DavidW says, "yeah, I didn't try going down." | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Tracks | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | I can't descend while also riding the bike, so I'll have to leave it | ||
CF | here. | ||
CF | | ||
CF | Tracks | ||
CF | Okay, I've dropped down and I'm standing on the subway tracks. There | ||
CF | are rails on the ground for the trains to run on. | ||
CF | | ||
CF | There's also a pair of bolt cutters leaned up against one wall. | ||
CF | | ||
CF | I can hop back up onto the platform, or go into the tunnel to | ||
CF | the west. | ||
CF | | ||
CF | > | Perry says, "Huh." | |
Perry says (to ClubFloyd), "get cutters" | ||
CF ] Tracks | ||
CF | > | ||
CF | > GET CUTTERS | ||
CF | | ||
CF | Alright, I've got them. | ||
CF | | ||
CF | > | DavidW says, "There's a card on the... nvrmind" | |
Perry says (to ClubFloyd), "u" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Subway Platform | ||
CF | It's the subway platform, but deserted. There's a bench, some ad | ||
CF | panels, and a map lining one wall. There's a schedule hanging from the | ||
CF | ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles are blocking the way to the | ||
CF | stairs up to the street. I can also go north to the glen | ||
CF | through the yellow door. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x card" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > X CARD | ||
CF | | ||
CF | It's the size of a business card, and I think made of the same stuff. | ||
CF | All that's written on it is 'METRO CARD' in big block letters. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "read card" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > READ CARD | ||
CF | | ||
CF | It's the size of a business card, and I think made of the same stuff. | ||
CF | All that's written on it is 'METRO CARD' in big block letters. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get card" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > GET CARD | ||
CF | | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x bench. x ad. x map. x schedule" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > X BENCH. X AD. X MAP. X SCHEDULE | ||
CF | | ||
CF | It's a simple metal bench, made for sitting. | ||
CF | | ||
CF | There are a bunch of panels taller than me affixed to the wall, each | ||
CF | one with a different... well, I guess they're ads. | ||
CF | | ||
CF | It's, I guess, a map of the subway system this station is a part of. | ||
CF | There are a bunch of different color lines, but the geometry of them | ||
CF | doesn't make a lot of sense. I don't recognize the system as any that | ||
CF | I've been on, and the writing isn't in English. | ||
CF | | ||
CF | I can't read it—I don't recognize any of the words. It must be in | ||
CF | some | ||
CF | foreign language. | ||
CF | | ||
CF | > | Perry says (to DavidW), "Sorry, I get distracted easily by suicidal actions." | |
Perry says, "Interesting that it's not English. The note we read was." | ||
DavidW says, "But you found the cutters. Now you can get that chain cut." | ||
Perry says (to ClubFloyd), "d. w" | ||
CF ] Darkness | ||
CF | > | ||
CF | > D. W | ||
CF | | ||
CF | | ||
CF | Tracks | ||
CF | Okay, I've dropped down and I'm standing on the subway tracks. There | ||
CF | are rails on the ground for the trains to run on. | ||
CF | | ||
CF | I can hop back up onto the platform, or go into the tunnel to | ||
CF | the west. | ||
CF | | ||
CF | Too dark to see | ||
CF | I can't see anything—it's pitch dark. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on camera" | ||
CF ] tunnel | ||
CF | > | ||
CF | > TURN ON CAMERA | ||
CF | | ||
CF | So many corpses lining the floor. | ||
CF | | ||
CF | tunnel | ||
CF | Dozens of corpses line the floor. I don't want to spend too long here. | ||
CF | I can go out to the subway tracks. | ||
CF | | ||
CF | > | Perry says, "OH." | |
Knight_Otu says, "Supposedly one cannot read in dreams. Never rang true...." | ||
Knight_Otu says, "What the." | ||
Perry says, "Yeah, that was never true for me. I've read many things in my dreams." | ||
Perry says (to ClubFloyd), "click corpses" | ||
CF ] tunnel | ||
CF | > | ||
CF | > CLICK CORPSES | ||
CF | | ||
CF | That seems really morbid. I don't want to. | ||
CF | | ||
CF | > | Jade exclaims, "If!" | |
Perry says (to ClubFloyd), "wait" | ||
CF ] tunnel | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | I'll wait a bit. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] tunnel | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | Sure, I'll wait a bit. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] tunnel | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | I'll wait a bit. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Tracks | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Tracks | ||
CF | Okay, I'm standing on the subway tracks. There are rails on the ground | ||
CF | for the trains to run on. | ||
CF | | ||
CF | I can hop up onto the platform, or go into the tunnel to the | ||
CF | west. | ||
CF | | ||
CF | > | Perry says, "Well that's hecking weird." | |
Perry says (to ClubFloyd), "x rails" | ||
CF ] Tracks | ||
CF | > | ||
CF | > X RAILS | ||
CF | | ||
CF | I know you're not supposed to touch the third one, but I only see two. | ||
CF | I'm just gonna not touch anything, to be safe. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] Tracks | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | All I can really hear from the real world is your voices. I can't tell | ||
CF | what else is going on out there. | ||
CF | | ||
CF | > | DavidW asks, "Waiting for a train? While on the tracks?" | |
Perry says, "Yes." | ||
DavidW says, "Mordid" | ||
Perry says, "And because it said 'I don't want to spend too long here.'" | ||
DavidW says, "er Morbid" | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Subway Platform | ||
CF | It's the subway platform, but deserted. There's a bench, some ad | ||
CF | panels, and a map lining one wall. There's a schedule hanging from the | ||
CF | ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles stand in front of the stairs | ||
CF | up to the street. I can also go north to the glen | ||
CF | through the yellow door. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "ride bike" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > RIDE BIKE | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | I can't climb while also riding the bike, so I'll have to leave it | ||
CF | here. | ||
CF | Okay, I swiped the card and the turnstiles have opened. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | back down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "cut chains" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > CUT CHAINS | ||
CF | | ||
CF | Okay, it was hard, but I was able to use the bolt cutters to cut the | ||
CF | chain. I don't think I can untangle it from the handles entirely, but | ||
CF | at least now I can open these doors. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | Sure, just let me open them first. | ||
CF | | ||
CF | Dining Room | ||
CF | This looks like a restaurant. There are a bunch of tables scattered | ||
CF | around. I can go back out to the street to the south. There are | ||
CF | also a pair of swinging doors to the north. | ||
CF | | ||
CF | There's a terrible smell in here. It looks like some food might have | ||
CF | been left out on a table. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x food" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X FOOD | ||
CF | | ||
CF | It's so gross. Some meat that was left sitting out so long I can't | ||
CF | tell what kind it is anymore. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "sniff food" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > SNIFF FOOD | ||
CF | | ||
CF | Gross! Stop it! | ||
CF | | ||
CF | > | DavidW asks, "Horsefly food?" | |
Perry exclaims, "Ooo!" | ||
Knight_Otu asks, "Fly bait?" | ||
Perry says (to ClubFloyd), "get good" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > GET GOOD | ||
CF | | ||
CF | Uh, I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get food" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > GET FOOD | ||
CF | | ||
CF | There's no way I'm touching that with my bare skin. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "put food in bag" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > PUT FOOD IN BAG | ||
CF | | ||
CF | (okay, I'll pick up the spoiled meat first) | ||
CF | There's no way I'm touching that with my bare skin. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get food with bag" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > GET FOOD WITH BAG | ||
CF | | ||
CF | I only understood that you wanted me to get the spoiled meat. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "i" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > I | ||
CF | | ||
CF | Okay. Here's what I'm carrying: | ||
CF | a metro card | ||
CF | some bolt cutters | ||
CF | a charred scrap of paper | ||
CF | a plastic bag | ||
CF | a camera (providing light) | ||
CF | my flannel PJs (being worn) | ||
CF | | ||
CF | > | Knight_Otu says, "We need gloves." | |
Perry says (to ClubFloyd), "turn off camera" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > TURN OFF CAMERA | ||
CF | | ||
CF | I've switched the camera off. | ||
CF | | ||
CF | > | DavidW says, "or tongs" | |
Perry says (to ClubFloyd), "wear bag" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > WEAR BAG | ||
CF | | ||
CF | The straps are a little too small and thin to loop over my shoulders. | ||
CF | | ||
CF | > | DavidW says, "Gloves is more likely, though." | |
DavidW asks, "maybe in the kitchen? North?" | ||
Perry says, "Probably. Though I think it should be possible with just a bag -- see also, picking up dog poop via bags." | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go back out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | There's a terrible smell in here. It looks like some food might have | ||
CF | been left out on a table. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the swinging doors) | ||
CF | Huh. Something's preventing them from opening from the other side. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x swinging door" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X SWINGING DOOR | ||
CF | | ||
CF | They look like the doors to a professional kitchen. | ||
CF | | ||
CF | > | Knight_Otu says, "True, true." | |
Perry says (to ClubFloyd), "push swinging door" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > PUSH SWINGING DOOR | ||
CF | | ||
CF | Something's preventing them from opening from the other side. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "kick swinging door" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > KICK SWINGING DOOR | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "pull swinging door" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > PULL SWINGING DOOR | ||
CF | | ||
CF | The swinging doors won't budge. I can't move it. | ||
CF | | ||
CF | > | DavidW says, "hmph" | |
Perry says, "Oh that's a missed opportunity. That would be a very funny, but mean, gag." | ||
DavidW says (to ClubFloyd), "x swinging door" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X SWINGING DOOR | ||
CF | | ||
CF | They look like the doors to a professional kitchen. | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "x hinges" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X HINGES | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x glass" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X GLASS | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x window" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X WINDOW | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | Perry asks, "If they're swinging shouldn't they open in two directions?" | |
DavidW says, "okay, I guess you have to approach it from the other side." | ||
DavidW says, "Not necessarily" | ||
Perry says, "Yeah I guess." | ||
Perry says (to ClubFloyd), "x table" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X TABLE | ||
CF | | ||
CF | (the round tables) | ||
CF | They're all the same: round tops with a single leg. | ||
CF | | ||
CF | On the round tables is some spoiled meat. | ||
CF | | ||
CF | > | DavidW says, "There's probably a dead body in the kitchen blocking the door." | |
Perry says, "Right, time to go untie our father." | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d. ride bike" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > D. RIDE BIKE | ||
CF | | ||
CF | | ||
CF | Subway Platform | ||
CF | It's the subway platform, but deserted. There's a bench, some ad | ||
CF | panels, and a map lining one wall. There's a schedule hanging from the | ||
CF | ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles stand in front of the stairs | ||
CF | up to the street. I can also go north to the glen | ||
CF | through the yellow door. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Glen | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Glen (riding the bicycle) | ||
CF | I'm standing in a glen, and there are two doors. One door is red, and | ||
CF | the other is yellow. It doesn't seem like anything is behind them. | ||
CF | | ||
CF | The glen is covered in snow, and all the trees are bare. I don't feel | ||
CF | the cold. Oh, there's sort of a trampled path leading off into the | ||
CF | trees to the east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | Okay, but we're not supposed take bikes into the house, so I'll have | ||
CF | to leave it here. | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's to the east. Also, that | ||
CF | red door leads back south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on tv" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > TURN ON TV | ||
CF | | ||
CF | (the uncanny TV) | ||
CF | I don't see a remote anywhere. | ||
CF | | ||
CF | > | Perry asks, "... use the button?" | |
Perry says (to ClubFloyd), "push tv" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > PUSH TV | ||
CF | | ||
CF | (the uncanny TV) | ||
CF | I'm worried it'll fall and break. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x couch" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > X COUCH | ||
CF | | ||
CF | (the uncanny couch) | ||
CF | It looks just like ours. | ||
CF | | ||
CF | On the uncanny couch are an uncanny pillow and an uncanny blanket. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x me" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > X ME | ||
CF | | ||
CF | I can't see you with my eyes closed, sis. | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "search couch" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > SEARCH COUCH | ||
CF | | ||
CF | (the uncanny couch) | ||
CF | There's just some lint in between the cushions. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x pillow. x blanket. x link" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > X PILLOW. X BLANKET. X LINK | ||
CF | | ||
CF | (the uncanny pillow) | ||
CF | It's the green one, with the flowers printed on it. I don't see the | ||
CF | brown one here. | ||
CF | | ||
CF | (the uncanny blanket) | ||
CF | Gross. It needs washing, just like IRL. | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "look under pillow" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > LOOK UNDER PILLOW | ||
CF | | ||
CF | (the uncanny pillow) | ||
CF | It's on the couch. | ||
CF | | ||
CF | > | Knight_Otu asks, "Are we in Uncanny Death Valley?" | |
Perry says (to ClubFloyd), "x lint" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > X LINT | ||
CF | | ||
CF | (the uncanny lint) | ||
CF | Gross. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get lint" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > GET LINT | ||
CF | | ||
CF | (the uncanny lint) | ||
CF | I can't think of a single reason I'd need that. | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "take blanket" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > TAKE BLANKET | ||
CF | | ||
CF | (the uncanny blanket) | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "take pillow" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > TAKE PILLOW | ||
CF | | ||
CF | (the uncanny pillow) | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | Perry says, "I can think of many reasons you'd want lint." | |
DavidW asks, "Pirates?" | ||
Perry says, "Cough, HHGTTG." | ||
DavidW says, "oh yes, that" | ||
Perry says (to ClubFloyd), "x tv" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > X TV | ||
CF | | ||
CF | (the uncanny TV) | ||
CF | It looks just like ours, except it doesn't have any brand logo on it. | ||
CF | I don't see the remote anywhere. | ||
CF | | ||
CF | > | DavidW says, "There were four lints in that game, iirc." | |
DavidW says (to ClubFloyd), "look under couch" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > LOOK UNDER COUCH | ||
CF | | ||
CF | (the uncanny couch) | ||
CF | There's nothing worth mentioning under here. | ||
CF | | ||
CF | > | Perry says, "Interesting that Claire notices it has no logo. And that there's no logo." | |
Perry says (to ClubFloyd), "l behind tv" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > L BEHIND TV | ||
CF | | ||
CF | Uh, I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | DavidW says, "I guess it's not here or hidden well." | |
Perry says (to ClubFloyd), "x ground" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > X GROUND | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "sit on couch" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > SIT ON COUCH | ||
CF | | ||
CF | (the uncanny couch) | ||
CF | That's not something I can sit down on. | ||
CF | | ||
CF | > | Perry says, "Literally unplayable." | |
Perry says (to ClubFloyd), "e" | ||
CF ] Foyer | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | Yeah, Emily, this is our house, because I'm standing in our foyer. | ||
CF | Kind of. It's a little more... empty, I guess? Less decorated? | ||
CF | ("Sparse," Jen supplies.) Than the real thing. There's just a | ||
CF | coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's back west, and the kitchen's across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | > | DavidW says, "Sometimes butts find things better than eyes or fingers." | |
Knight_Otu exclaims, "Bad couch!" | ||
Perry says (to ClubFloyd), "read mat" | ||
CF ] Foyer | ||
CF | > | ||
CF | > READ MAT | ||
CF | | ||
CF | It looks like it's made of straw. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x rack" | ||
CF ] Foyer | ||
CF | > | ||
CF | > X RACK | ||
CF | | ||
CF | Tall and metal. The number of times this thing has scared me in the | ||
CF | middle of the night is unreal. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Kitchen | ||
CF | I mean, it's our kitchen. The sink, stove, fridge, cabinets, | ||
CF | counters... they're all pretty much where they really are. Or wait, | ||
CF | there's no dishwasher. That's different. | ||
CF | | ||
CF | The foyer's back to the west, and some stairs lead down. | ||
CF | | ||
CF | > | Perry says, "Will go down last." | |
Knight_Otu nods. | ||
Perry says (to ClubFloyd), "x sink. x stove. x fridge. x cabinets. x counters." | ||
CF ] Kitchen | ||
CF | > | ||
CF | > X SINK. X STOVE. X FRIDGE. X CABINETS. X COUNTERS. | ||
CF | | ||
CF | The kitchen sink. Metal. It's pretty clean. | ||
CF | | ||
CF | It's our stove, down to the scuffs by the front burners. | ||
CF | | ||
CF | It looks pretty much like ours. Big, white, no freezer. Oh, except | ||
CF | this one has a padlock on it. Ours doesn't have that. | ||
CF | | ||
CF | Maybe the wood is a little darker than ours? The doors are also way | ||
CF | more spaced out than ours. | ||
CF | | ||
CF | Cleaner than I've ever seen the real thing be. | ||
CF | | ||
CF | > | DavidW says, "You're our dishwasher now, Claire." | |
Knight_Otu asks, "Hasn't Claire suffered enough?" | ||
DavidW asks, "Padlock on the fridge?" | ||
Perry says, "I like how consistent nouns mentioned in passing have full descriptions." | ||
Perry says (to DavidW), "Nah that's normal." | ||
Perry says (to ClubFloyd), "x padlock" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > X PADLOCK | ||
CF | | ||
CF | It's big and chunky, and, uh, doesn't seem to have a keyhole. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "cut padlock" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > CUT PADLOCK | ||
CF | | ||
CF | Okay, I used the bolt cutters to cut the loop part of the padlock. | ||
CF | It'll never be able to lock again, but at least now I can open the | ||
CF | fridge. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "open fridge" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > OPEN FRIDGE | ||
CF | | ||
CF | Alright, it's open. | ||
CF | | ||
CF | > | Perry says, "I bet... corpses." | |
Perry says (to ClubFloyd), "l in fridge" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > L IN FRIDGE | ||
CF | | ||
CF | Nothing to report. | ||
CF | | ||
CF | > | Perry exclaims, "WHAT!" | |
Perry says (to ClubFloyd), "x fridge" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > X FRIDGE | ||
CF | | ||
CF | It looks pretty much like ours, except with a padlock. Big, white, no | ||
CF | freezer. | ||
CF | | ||
CF | > | DavidW says, "Dpm" | |
DavidW says, "er Don't enter" | ||
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf22" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Kitchen | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | Knight_Otu says, "No body stffed into the fridge." | |
Perry says (to ClubFloyd), "enter fridge" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > ENTER FRIDGE | ||
CF | | ||
CF | Um, okay, I guess. | ||
CF | | ||
CF | Oh, oh that's weird. I just stepped through and now I'm in what looks | ||
CF | like a restaurant dining room. | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | There's a terrible smell in here. It looks like some food might have | ||
CF | been left out on a table. | ||
CF | | ||
CF | > | Knight_Otu says, "Oh." | |
DavidW says, "MIRROR KITCHEN!" | ||
DavidW asks, "oh wait. This is the place from before?" | ||
Perry says, "Yes." | ||
Knight_Otu says, "Yes." | ||
Perry says, "Not gonna lie, if it was just totally empty and had no purpose whatsoever... I would've loved that." | ||
DavidW asks, "Is there a fridge here?" | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | There's a terrible smell in here. It looks like some food might have | ||
CF | been left out on a table. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x fridge" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X FRIDGE | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the swinging doors) | ||
CF | Yep, I just walked through the swinging doors and now I'm back in our | ||
CF | kitchen. | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's back to the west, and some stairs lead down. | ||
CF | | ||
CF | > | Perry says, "Interesting." | |
DavidW says, "oh. You just had to cut the padlock." | ||
Perry says (to ClubFloyd), "open cabinets" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > OPEN CABINETS | ||
CF | | ||
CF | I've opened the cabinets. Inside I can see some rubber gloves. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x gloves. get gloves. wear gloves" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > X GLOVES. GET GLOVES. WEAR GLOVES | ||
CF | | ||
CF | They're pink and they look like they'd reach up to my elbows. | ||
CF | | ||
CF | Alright, I've got them. | ||
CF | | ||
CF | Alright, I've put the rubber gloves on. | ||
CF | | ||
CF | > | Knight_Otu says, "There's the gloves." | |
Perry says (to ClubFloyd), "enter fridge. put food in bag" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > ENTER FRIDGE. PUT FOOD IN BAG | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | There's a terrible smell in here. It looks like some food might have | ||
CF | been left out on a table. | ||
CF | | ||
CF | (I'll pick up the spoiled meat first) | ||
CF | I have put the spoiled meat into the plastic bag. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x bag" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > X BAG | ||
CF | | ||
CF | It says 'Have A Great Day!' on the side. | ||
CF | | ||
CF | In the plastic bag is some spoiled meat. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "sniff bag" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > SNIFF BAG | ||
CF | | ||
CF | Smells like plastic. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "sniff meat" | ||
CF ] Dining Room | ||
CF | > | ||
CF | > SNIFF MEAT | ||
CF | | ||
CF | Gross! Stop it! | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's back to the west, and some stairs lead down. | ||
CF | | ||
CF | > | Jade says, "lol" | |
Perry says, "I think I'll explore the rest of the house barring the basement, then go say hi to the housefly, unless anyone has any objections." | ||
Perry says (to ClubFloyd), "l in sink" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > L IN SINK | ||
CF | | ||
CF | The sink is empty. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Foyer | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's west, and the kitchen's back across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | > | DavidW says, "sounds like a plan." | |
Perry says (to ClubFloyd), "n" | ||
CF ] Foyer | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | Sure, but I've gotta unlock and open the front door before I can go | ||
CF | through it. | ||
CF | | ||
CF | So, this version has a keyhole instead of a latch on this side. Mom | ||
CF | keeps a spare key in her room, right? | ||
CF | | ||
CF | > | Knight_Otu says, "No Phoenix Wright among us." | |
Perry says (to ClubFloyd), "l n" | ||
CF ] Foyer | ||
CF | > | ||
CF | > L N | ||
CF | | ||
CF | This is our street, kind-of-sort-of. The sign has a different name on | ||
CF | it, but our house is here, to the south, and so are our | ||
CF | neighbors'. In the middle of the road is what looks like a broken-down | ||
CF | schoolbus. | ||
CF | | ||
CF | > | DavidW says, "x-ray vision at work" | |
Perry says, "Gotta remember to not do that with locked doors." | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Hallway | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Hallway | ||
CF | You know, I never really stopped to pay attention to this hallway as, | ||
CF | like, its own place in real life. Probably because there's absolutely | ||
CF | nothing here. | ||
CF | | ||
CF | Wait, the doors here are actually different than they are in real | ||
CF | life. There's a blue door leading west and a green door leading | ||
CF | south. There should be a third door, but there isn't. The | ||
CF | stairs go back down. | ||
CF | | ||
CF | > | DavidW says, "At least we know it's somewhere new out there." | |
Perry says (to ClubFloyd), "w" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | (first opening the blue door) | ||
CF | | ||
CF | Bedroom | ||
CF | It's our mom's room, but not everything's in here. There's their great | ||
CF | big bed and the bedside table next to it. In real life there's an | ||
CF | armoire in the corner, but there's not one here. I can go back | ||
CF | east to the hallway. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x bed. l under bed. x table. l under table. open table." | ||
CF ] Bedroom | ||
CF | > | ||
CF | > X BED. L UNDER BED. X TABLE. L UNDER TABLE. OPEN TABLE. | ||
CF | | ||
CF | This is our mom's bed. Or, it looks like it. | ||
CF | | ||
CF | Okay, there is something under the bed, but I'm absolutely | ||
CF | not describing it to you. | ||
CF | | ||
CF | (the bedside table) | ||
CF | It looks just like mom's, except it doesn't have a drawer. Also it's | ||
CF | not nearly as cluttered—all that's on it is a housekey. | ||
CF | | ||
CF | There isn't really any room underneath. | ||
CF | | ||
CF | It doesn't have drawers. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get key" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > GET KEY | ||
CF | | ||
CF | (the housekey) | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l under bed" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > L UNDER BED | ||
CF | | ||
CF | There is something under the bed, but I'm not describing it | ||
CF | to you. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "crawl under bed" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > CRAWL UNDER BED | ||
CF | | ||
CF | Gross! No! | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "push bed" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > PUSH BED | ||
CF | | ||
CF | It's too heavy for me to move. | ||
CF | | ||
CF | > | DavidW says, "Mom's vibrator collection." | |
Jade says, "ja ja" | ||
Perry says, "I'm not sure if the L UNDER BED message is Claire messing with us, a clue, or an easter egg." | ||
Perry says (to ClubFloyd), "search bed. search table" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > SEARCH BED. SEARCH TABLE | ||
CF | | ||
CF | There is nothing on the bed. | ||
CF | | ||
CF | It looks just like mom's, except it doesn't have a drawer. Also it's | ||
CF | not nearly as cluttered—in fact, there's nothing on it. | ||
CF | | ||
CF | > | DavidW says, "There was one IF game where I looked under a bed and found a crusty sock." | |
Perry says, "Nooooo." | ||
Perry says (to ClubFloyd), "click under bed" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > CLICK UNDER BED | ||
CF | | ||
CF | I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "click bed" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > CLICK BED | ||
CF | | ||
CF | Alright. Now I have a photo of the bed. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x key" | ||
CF ] Bedroom | ||
CF | > | ||
CF | > X KEY | ||
CF | | ||
CF | (the housekey) | ||
CF | Why do they make them so small? It seems so easy to lose. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Hallway | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Hallway | ||
CF | Just a boring hallway. | ||
CF | | ||
CF | A blue door leads back west to the master bedroom, and a green | ||
CF | door leads south. There should be a third door, but there | ||
CF | isn't. Stairs go down. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | (first opening the green door) | ||
CF | | ||
CF | Bathroom | ||
CF | Okay, this is weird. It looks like our bathroom, but there's no | ||
CF | furniture. There are just three, like, vague cubes. One each that's | ||
CF | small, medium, and large. I can go back north to the hallway. | ||
CF | | ||
CF | > | Perry says, "Um. Bathrooms don't have furniture normally." | |
DavidW says, "Those cubes are odd." | ||
Perry says (to ClubFloyd), "x small. x medium. x large" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > X SMALL. X MEDIUM. X LARGE | ||
CF | | ||
CF | This is the smallest of the cubes, set slightly out from the wall. I | ||
CF | think it's meant to represent the toilet. | ||
CF | | ||
CF | It's medium-sized, up against the wall next to the door. Comes up to | ||
CF | just above my waist. Maybe it's supposed to be a sink? | ||
CF | | ||
CF | It's the biggest cube—it takes up the whole back wall, and goes from | ||
CF | the floor almost to the ceiling. I think it's meant to represent the | ||
CF | shower. | ||
CF | | ||
CF | > | Perry says, "The devs didn't finish modeling this part." | |
Perry says (to ClubFloyd), "enter large" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > ENTER LARGE | ||
CF | | ||
CF | It's not like an actual tub. I can't see any way to get inside it, and | ||
CF | it's way too high for me to climb on top of. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "open large" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > OPEN LARGE | ||
CF | | ||
CF | The surface is totally smooth. I can't see anywhere it might open. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "push large" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > PUSH LARGE | ||
CF | | ||
CF | It won't budge an inch. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on medium" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > TURN ON MEDIUM | ||
CF | | ||
CF | The surface is super unvaried. I can't see anything that looks like it | ||
CF | could switch it on or off. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x sink" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > X SINK | ||
CF | | ||
CF | Medium-sized, right up against the wall next to the door. Comes up to | ||
CF | just above my waist. I think it's supposed to be a sink. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "sit on small" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > SIT ON SMALL | ||
CF | | ||
CF | I don't know. I'd feel weird sitting on that thing, and even weirder | ||
CF | standing on it. | ||
CF | | ||
CF | > | DavidW says, "I guess you can't take or stack them into a tower." | |
Perry says (to ClubFloyd), "get small" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > GET SMALL | ||
CF | | ||
CF | I can't. It won't budge an inch. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Bathroom | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Bathroom | ||
CF | It looks like our bathroom, but there's no furniture. There are just | ||
CF | three, like, vague cubes, one each that's small, medium, and large. I | ||
CF | can go back north to the hallway. | ||
CF | | ||
CF | > | Perry says, "Very interesting." | |
DavidW says, "yeah. It's different." | ||
Perry says, "I haven't the faintest clue of what it means." | ||
Perry exclaims, "Housefly time!" | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Hallway | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Hallway | ||
CF | Just a boring hallway. | ||
CF | | ||
CF | A blue door leads west to the master bedroom, and a green door | ||
CF | leads back south to a bathroom. There's no door to lead to our | ||
CF | bedroom. The stairs go down. | ||
CF | | ||
CF | > | DavidW says, "I think that might be just not wanting to describe a toilet." | |
Perry says, "They described a pile of bodies..." | ||
Perry says (to ClubFloyd), "d. e. enter fridge. s. s." | ||
CF ] Field, north side | ||
CF | > | ||
CF | > D. E. ENTER FRIDGE. S. S. | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's west, and the kitchen's across the hall to | ||
CF | the east. The front door's to the north, and the stairs | ||
CF | go back up to the second floor. | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's back to the west, and some stairs lead down. | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That horsefly's | ||
CF | buzzing around to the southwest. That big tower's to the south. | ||
CF | | ||
CF | The horsefly just showed up from the southwest. | ||
CF | | ||
CF | The horsefly seems interested in the meat. It's landed and is sniffing | ||
CF | it. | ||
CF | | ||
CF | > | DavidW says, "That's different." | |
Perry says (to ClubFloyd), "pet fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > PET FLY | ||
CF | | ||
CF | I tried, but it flew away. I think it's a bit skittish. | ||
CF | | ||
CF | The horsefly just arrived from the southeast. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "gi meat to housefly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > GI MEAT TO HOUSEFLY | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "gi meat to horsefly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > GI MEAT TO HORSEFLY | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | Perry says, "Oops. GI is my alias for giving in another mud I play." | |
Perry says (to ClubFloyd), "give meat to horsefly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > GIVE MEAT TO HORSEFLY | ||
CF | | ||
CF | (I'll pick up the spoiled meat first) | ||
CF | The fly's a bit too skittish for me to get close enough to give the | ||
CF | meat to it directly, but I can drop it on the ground and let the fly | ||
CF | come to it on its own. | ||
CF | | ||
CF | The horsefly seems interested in the meat. It's landed and is sniffing | ||
CF | it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "drop meap" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > DROP MEAP | ||
CF | | ||
CF | I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "drop meat" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > DROP MEAT | ||
CF | | ||
CF | I don't have the spoiled meat. | ||
CF | | ||
CF | (Tiff laughs quietly at something on her phone.) | ||
CF | | ||
CF | > | Jade says, "oh my god, a horsefly npc" | |
Perry says (to ClubFloyd), "l" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That big tower's | ||
CF | to the south. | ||
CF | | ||
CF | There's a real big fly here. | ||
CF | | ||
CF | I can also see some spoiled meat here. | ||
CF | | ||
CF | (Jen taps away at her phone.) | ||
CF | | ||
CF | > | Perry says, "Oh, we dropped the meat already. That wasn't very clear." | |
DavidW asks, "okay, wait?" | ||
Perry says (to Jade), "It seems like it's a fly crossed with a horse and not a large horsefly, sadly. Or goodly." | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | Sure, I'll wait a bit. | ||
CF | | ||
CF | (Tiffany's phone buzzes. She taps the notification.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pet fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > PET FLY | ||
CF | | ||
CF | I tried, but it flew away. I think it's a bit skittish. | ||
CF | | ||
CF | Oh hey, the horsefly just showed up from the southwest. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | Sure, I'll wait a bit. | ||
CF | | ||
CF | (Kiki slinks over to her favorite spot on the floor and plants | ||
CF | herself firmly there.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > CLIMB FLY | ||
CF | | ||
CF | It's too high up for me to climb onto. | ||
CF | | ||
CF | (Kiki gets to her feet and walks out.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "ride fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > RIDE FLY | ||
CF | | ||
CF | It's too high up for me to climb onto. | ||
CF | | ||
CF | The horsefly seems interested in the meat. It's landed and is sniffing | ||
CF | it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait. wait." | ||
CF ] Field, north side | ||
CF | > | ||
CF | > WAIT. WAIT. | ||
CF | | ||
CF | I'll wait a bit. | ||
CF | | ||
CF | (Tiffany chuckles at something on her phone.) | ||
CF | | ||
CF | I'll wait a bit. | ||
CF | | ||
CF | > | Perry says, "Hmm." | |
Perry says (to ClubFloyd), "l" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That big tower's | ||
CF | to the south. | ||
CF | | ||
CF | There's an absolutely massive fly here. | ||
CF | | ||
CF | I can also see some spoiled meat here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | Sure, I'll wait a bit. | ||
CF | | ||
CF | (Tiff's phone vibrates. She taps the notification.) | ||
CF | | ||
CF | > | DavidW says, "This isn't working for some reason, or far too slowly." | |
Perry says (to ClubFloyd), "get meat" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > GET MEAT | ||
CF | | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "drop meat" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > DROP MEAT | ||
CF | | ||
CF | Sure, dropped. | ||
CF | | ||
CF | (Jen looks out the window for a moment.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "get meat" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > GET MEAT | ||
CF | | ||
CF | Alright, I've got it. | ||
CF | | ||
CF | (Jen sniffs.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | Okay, before I do anything else I need to either drop this meat or put | ||
CF | it in the bag. I'm not carrying it around with me. | ||
CF | | ||
CF | (Tiff tucks a strand of hair behind her ear.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "put meat in bbag" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > PUT MEAT IN BBAG | ||
CF | | ||
CF | I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "put meat in bag" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > PUT MEAT IN BAG | ||
CF | | ||
CF | Okay, I've put the spoiled meat into the plastic bag. | ||
CF | | ||
CF | The fly is eating the meat. I might be able to approach it now. | ||
CF | | ||
CF | > | Perry says, "Uhhhhh. I see." | |
Perry says (to ClubFloyd), "pet fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > PET FLY | ||
CF | | ||
CF | It's a lot hairier than you'd think. | ||
CF | | ||
CF | (Jen taps away at her phone.) | ||
CF | | ||
CF | > | Perry exclaims, "Yay!!" | |
Perry says (to ClubFloyd), "climb fly" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > CLIMB FLY | ||
CF | | ||
CF | Okay, I'm on. Oh, it looks like it finished with the meat. Now it's- | ||
CF | oh, woah, it's taking flight. We're flying! I have to hold on. | ||
CF | | ||
CF | Atop the Tower | ||
CF | Okay I'm off. It flew me all the way to the top of the tower, but then | ||
CF | it buzzed back down. Now I'm standing on the platform at the very top. | ||
CF | There's a waist-high railing at the edge, and the wind is whipping | ||
CF | hard around me. There's a hole in the floor with a ladder leading | ||
CF | down. | ||
CF | | ||
CF | Nobody has ever stood here before. I can just tell. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "i" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > I | ||
CF | | ||
CF | Here's what I'm carrying: | ||
CF | a housekey | ||
CF | some rubber gloves (being worn) | ||
CF | an uncanny pillow | ||
CF | an uncanny blanket | ||
CF | a metro card | ||
CF | some bolt cutters | ||
CF | a charred scrap of paper | ||
CF | a plastic bag | ||
CF | a camera | ||
CF | my flannel PJs (being worn) | ||
CF | | ||
CF | (Jen taps away at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x bag" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > X BAG | ||
CF | | ||
CF | It says 'Have A Great Day!' on the side. | ||
CF | | ||
CF | > | Perry says, "Was wondering if that buggy interaction let me keep the meat." | |
Perry says, "HA! Buggy interaction." | ||
Perry says (to ClubFloyd), "read note" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > READ NOTE | ||
CF | | ||
CF | You want me to read it again? Okay. It says: | ||
CF | | ||
CF | "If you found this where I put it and you seek what I sought, know you | ||
CF | haven't gone high enough yet. | ||
CF | | ||
CF | "I managed to trap him. For your sake, I hope you found this note | ||
CF | before he's freed. He won't let you escape once he's free, but I made | ||
CF | a failsafe. Had to give up a lot to create it, so don't let it go to | ||
CF | waste. | ||
CF | | ||
CF | "You'll need to find a way to get to the highest point. I made that, | ||
CF | too, but you'll need to lure it to you somehow. I can't write how | ||
CF | here. I'm certain he won't figure it out on his own, but I can't risk | ||
CF | him finding this paper. If he's free, the highest point is the only | ||
CF | place you can escape from. | ||
CF | | ||
CF | "Good luck, fellow traveler." | ||
CF | | ||
CF | > | DavidW says, "so what's here>" | |
DavidW asks, "railing, hole, ladder, view, anything else?" | ||
Perry says, "I have an idea of what's happening, reading that note again. I won't say anything though." | ||
Perry says (to ClubFloyd), "x railing. hole. x ladder. x view" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > X RAILING. HOLE. X LADDER. X VIEW | ||
CF | | ||
CF | It's only waist-high, and I still feel pretty precarious standing up | ||
CF | against it. | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x hole" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > X HOLE | ||
CF | | ||
CF | It might have been a hatch once, but there's no covering now. | ||
CF | | ||
CF | (Tiff taps at her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x ladder. x view" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > X LADDER. X VIEW | ||
CF | | ||
CF | It goes down. | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Atop the Tower | ||
CF | This is the platform at the very top of the tallest transmission | ||
CF | tower. There's a waist-high railing at the edge, and the wind is | ||
CF | whipping hard around me. There's a hole in the floor with a ladder | ||
CF | leading down. | ||
CF | | ||
CF | Nobody has ever stood here before. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x tower. x wind" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > X TOWER. X WIND | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x wind" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > X WIND | ||
CF | | ||
CF | It's strong here, above the clouds. | ||
CF | | ||
CF | > | DavidW says, "Shame we don't have a hang-glider." | |
DavidW says, "I'm wondering if there's an even higher location from here." | ||
Perry says (to ClubFloyd), "read note" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > READ NOTE | ||
CF | | ||
CF | You want me to read it again? Okay. It says: | ||
CF | | ||
CF | "If you found this where I put it and you seek what I sought, know you | ||
CF | haven't gone high enough yet. | ||
CF | | ||
CF | "I managed to trap him. For your sake, I hope you found this note | ||
CF | before he's freed. He won't let you escape once he's free, but I made | ||
CF | a failsafe. Had to give up a lot to create it, so don't let it go to | ||
CF | waste. | ||
CF | | ||
CF | "You'll need to find a way to get to the highest point. I made that, | ||
CF | too, but you'll need to lure it to you somehow. I can't write how | ||
CF | here. I'm certain he won't figure it out on his own, but I can't risk | ||
CF | him finding this paper. If he's free, the highest point is the only | ||
CF | place you can escape from. | ||
CF | | ||
CF | "Good luck, fellow traveler." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | I don't think I can go that way. | ||
CF | | ||
CF | (Tiff laughs quietly at something on her phone.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb up" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > CLIMB UP | ||
CF | | ||
CF | Uh, can you name something more substantial? | ||
CF | | ||
CF | (Jen sniffs.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb tower" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > CLIMB TOWER | ||
CF | | ||
CF | I can't tell which thing you're talking about. | ||
CF | | ||
CF | [That's either not here, or not important enough to interact | ||
CF | with.] | ||
CF | | ||
CF | > | Perry says, "Okay actually I will say. I think 'he' is our father, and 'it' is the fly." | |
Knight_Otu says, "Yeah." | ||
DavidW asks, "oh?" | ||
Perry says (to ClubFloyd), ";Once we free our 'father', who will probably be a man in a suit, I bet we won't be able to wake up until we escape to up here." | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > ;ONCE WE FREE OUR 'FATHER', WHO WILL PROBABLY BE A MAN IN A SUIT, I | ||
CF | BET WE WON'T BE ABLE TO WAKE UP UNTIL WE ESCAPE TO UP HERE. | ||
CF | | ||
CF | I can't tell who you want me to talk to. | ||
CF | | ||
CF | > | Perry says, "Once we free our 'father', who will probably be a man in a suit, I bet we won't be able to wake up until we escape to up here." | |
DavidW asks, "So we're here too soon?" | ||
Knight_Otu says, "Seems like that could be the case." | ||
DavidW asks, "can we enter the hole?" | ||
Perry says, "But there's probably something we need to do in the meantime. There's still the clock room and the intern, for instance." | ||
Perry says (to ClubFloyd), "enter hole" | ||
CF ] Climbing the Tower | ||
CF | > | ||
CF | > ENTER HOLE | ||
CF | | ||
CF | | ||
CF | Climbing the Tower | ||
CF | I'm on the ladder. I know the field is below me, and the top is far | ||
CF | above. I can go up or down. The fog is thick, and I | ||
CF | can't see very far out from the tower. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Base of the Tower | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | Yeah, again, it only took me one step back down and I'm standing in | ||
CF | the field. | ||
CF | | ||
CF | Base of the Tower | ||
CF | This is the center of the field, and the base of the biggest | ||
CF | transmission tower I've ever seen. I can go north, | ||
CF | south, east, or west to other parts of the field. | ||
CF | There's also a ladder here I can use to climb up the tower. | ||
CF | That horsefly's hovering around to the east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That horsefly's | ||
CF | buzzing around to the southeast. That big tower's to the south. | ||
CF | | ||
CF | The horsefly just arrived from the southeast. | ||
CF | | ||
CF | > | Jade says, "hmmm I dont know" | |
Perry says, "I hope we aren't out of meat though." | ||
Perry says (to ClubFloyd), "pet fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > PET FLY | ||
CF | | ||
CF | It's too high up for me to touch. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb fly" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > CLIMB FLY | ||
CF | | ||
CF | Okay, I'm on. Oh, it looks like it finished with the meat. Now it's- | ||
CF | oh, woah, it's taking flight. We're flying! I have to hold on. | ||
CF | | ||
CF | Atop the Tower | ||
CF | Okay I'm off. It flew me all the way to the top of the tower, but then | ||
CF | it buzzed back down. Now I'm standing on the platform at the very top. | ||
CF | There's a waist-high railing at the edge, and the wind is whipping | ||
CF | hard around me. There's a hole in the floor with a ladder leading | ||
CF | down. | ||
CF | | ||
CF | I am the only one who has ever stood here before. | ||
CF | | ||
CF | > | Perry says, "Ah, fly is our fren now." | |
Perry says (to ClubFloyd), "d. d." | ||
CF ] Base of the Tower | ||
CF | > | ||
CF | > D. D. | ||
CF | | ||
CF | | ||
CF | Climbing the Tower | ||
CF | I'm on the ladder. I know the field is below me, and the top is far | ||
CF | above. I can go up or down. The fog is thick, and I | ||
CF | can't see very far out from the tower. | ||
CF | | ||
CF | Alright, back to the field. | ||
CF | | ||
CF | Base of the Tower | ||
CF | This is the center of the field, and the base of the biggest | ||
CF | transmission tower I've ever seen. I can go north, | ||
CF | south, east, or west to other parts of the field. | ||
CF | There's also a ladder here I can use to climb up the tower. | ||
CF | That horsefly's wandering around to the east. | ||
CF | | ||
CF | The horsefly just showed up from the east. | ||
CF | | ||
CF | > | Knight_Otu says, "Tame horseyflyey." | |
Perry says (to ClubFloyd), ";Okay, let's go say hi to our dad." | ||
CF ] Base of the Tower | ||
CF | > | ||
CF | > ;OKAY, LET'S GO SAY HI TO OUR DAD. | ||
CF | | ||
CF | I can't tell who you want me to talk to. | ||
CF | | ||
CF | > | Perry says, "Okay, let's go say hi to our dad." | |
Knight_Otu ughs to himself. | ||
Perry says (to ClubFloyd), "n. n. n. n." | ||
CF ] Kitchen | ||
CF | > | ||
CF | > N. N. N. N. | ||
CF | | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That horsefly's | ||
CF | buzzing around to the south. That big tower's to the south. | ||
CF | | ||
CF | The horsefly just showed up from the south. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go back out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | (first opening the swinging doors) | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's to the west, and some stairs lead down. | ||
CF | | ||
CF | > | DavidW says, "We never got the door with water pressure open yet. I wonder where that is." | |
Knight_Otu asks, "The beach, maybe?" | ||
Perry says, "Oo, that too. Chekhov's gun also says the skeleton room might have something too." | ||
DavidW asks, "Maybe. Do we need to pull the plug in the ocean?" | ||
Perry says, "Oh, that's a really good guess." | ||
Perry says (to ClubFloyd), "enter fridge. s. s. sw" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > ENTER FRIDGE. S. S. SW | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go back out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That big tower's | ||
CF | to the south. | ||
CF | | ||
CF | There's a huge fly here. | ||
CF | | ||
CF | (Tiffany taps away at her phone.) | ||
CF | | ||
CF | Field, west side | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or northwest to the | ||
CF | beach. That horsefly's hovering around to the northeast. That big | ||
CF | tower's to the east. | ||
CF | | ||
CF | The horsefly just showed up from the northeast. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Edge of the Trees | ||
CF | The mist and the trees both begin here. There are some transmission | ||
CF | towers dotted around. | ||
CF | | ||
CF | I can go west to the misty path, north to the beach, or | ||
CF | back east to the western end of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Beach | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Beach | ||
CF | I'm standing on a beach. I can see a few boats out on the water. | ||
CF | | ||
CF | There's a pile of radios, about chest-high. | ||
CF | | ||
CF | I can go back south to the edge of the trees, or | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Rumors of war." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x water" | ||
CF ] Beach | ||
CF | > | ||
CF | > X WATER | ||
CF | | ||
CF | Steely gray. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l under water" | ||
CF ] Beach | ||
CF | > | ||
CF | > L UNDER WATER | ||
CF | | ||
CF | The water's too murky to see through. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "dive" | ||
CF ] Beach | ||
CF | > | ||
CF | > DIVE | ||
CF | | ||
CF | I don't want to go swimming in my pajamas. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "remove pajamas" | ||
CF ] Beach | ||
CF | > | ||
CF | > REMOVE PAJAMAS | ||
CF | | ||
CF | (flannel PJs) | ||
CF | I'm not going to do that. These are all I have to wear. | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "search water" | ||
CF ] Beach | ||
CF | > | ||
CF | > SEARCH WATER | ||
CF | | ||
CF | The water's too murky to see through. | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Suffocating nothingness." | ||
CF | | ||
CF | > | Perry says, "Oh wait" | |
Perry says (to ClubFloyd), "se" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > SE | ||
CF | | ||
CF | | ||
CF | Field, west side | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or back northwest to the | ||
CF | beach. That big tower's to the east. | ||
CF | | ||
CF | There's an absolutely massive fly here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "nw" | ||
CF ] Beach | ||
CF | > | ||
CF | > NW | ||
CF | | ||
CF | | ||
CF | Beach | ||
CF | I'm standing on a beach. I can see a few boats out on the water. | ||
CF | | ||
CF | There's a pile of radios, about chest-high. | ||
CF | | ||
CF | I can go south to the edge of the trees, or back | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | > | Perry says, "Nevermind, I can't read." | |
Perry says (to ClubFloyd), "search radios" | ||
CF ] Beach | ||
CF | > | ||
CF | > SEARCH RADIOS | ||
CF | | ||
CF | It's just radios, all the way down. | ||
CF | | ||
CF | > | Perry says, "Ha, good reference." | |
DavidW says, "like turtles" | ||
DavidW says (to ClubFloyd), "x plug" | ||
CF ] Beach | ||
CF | > | ||
CF | > X PLUG | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "drink water" | ||
CF ] Beach | ||
CF | > | ||
CF | > DRINK WATER | ||
CF | | ||
CF | I don't think you're supposed to drink ocean water. | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Skin inverted." | ||
CF | | ||
CF | > | Perry exclaims, "Skin inverted?!" | |
Perry says, "Well, let's try going back to the basement for now I guess." | ||
Perry says (to ClubFloyd), "se. ne. n. n. n" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > SE. NE. N. N. N | ||
CF | | ||
CF | | ||
CF | Field, west side | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or back northwest to the | ||
CF | beach. That big tower's to the east. | ||
CF | | ||
CF | There's a giant fly here. | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That horsefly's | ||
CF | wandering around to the southwest. That big tower's to the south. | ||
CF | | ||
CF | Oh hey, the horsefly just showed up from the southwest. | ||
CF | | ||
CF | (Tiffany snorts at something on her phone.) | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go back out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | (first opening the swinging doors) | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's to the west, and some stairs lead down. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf23" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Kitchen | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Darkness | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | | ||
CF | Too dark to see | ||
CF | I can't see anything—it's pitch dark. | ||
CF | | ||
CF | > | DavidW asks, "If you're on the bike, can you ride into water above it?" | |
Perry says, "Let me go try" | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's to the west, and stairs lead back down. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Foyer | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's west, and the kitchen's back across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's back to the east. Also, | ||
CF | that red door leads south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Glen | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Glen | ||
CF | I'm standing in a glen, and there are two doors. One door is red, and | ||
CF | the other is yellow. It doesn't seem like anything is behind them. | ||
CF | | ||
CF | The glen is covered in snow, and all the trees are bare. I don't feel | ||
CF | the cold. Oh, there's sort of a trampled path leading off into the | ||
CF | trees to the east. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "ride bike" | ||
CF ] Glen | ||
CF | > | ||
CF | > RIDE BIKE | ||
CF | | ||
CF | Alright, I'm on the bicycle. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Among the Trees | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Among the Trees (riding the bicycle) | ||
CF | Okay, I followed the path into the trees. There's mist low to to the | ||
CF | ground here. There are transmission towers dotted around. | ||
CF | | ||
CF | The path bends here—I can follow it back west to the glen, or | ||
CF | take it north further into the forest. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Misty Path | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Misty Path (riding the bicycle) | ||
CF | The mist is a lot thicker here. Everything looks like it's early | ||
CF | morning. There are more transmission towers mixed in with the trees. | ||
CF | | ||
CF | The path bends again here—I can follow it back south towards | ||
CF | the glen, or take it east towards that big tower. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Edge of the Trees (riding the bicycle) | ||
CF | The mist and the trees both thin out here. There are more transmission | ||
CF | towers dotted around, but what looks like the mother of them all is up | ||
CF | ahead. | ||
CF | | ||
CF | I can go back west to the misty path, north to the | ||
CF | beach, or east to the western end of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Beach | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Beach (riding the bicycle) | ||
CF | I'm standing on a beach. I can see a few boats out on the water. | ||
CF | | ||
CF | There's a pile of radios, about chest-high. | ||
CF | | ||
CF | I can go back south to the edge of the trees, or | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Beach | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | That seems dangerous. What if there's an undertow and I get swept | ||
CF | away? | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "swim" | ||
CF ] Beach | ||
CF | > | ||
CF | > SWIM | ||
CF | | ||
CF | I don't want to go swimming in my pajamas. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "enter water" | ||
CF ] Beach | ||
CF | > | ||
CF | > ENTER WATER | ||
CF | | ||
CF | That seems dangerous. What if there's an undertow and I get swept | ||
CF | away? | ||
CF | | ||
CF | > | DavidW says, "I guess that's not it." | |
Perry says, "Neat thought though." | ||
Perry says (to ClubFloyd), "se. ne. n. n. n" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > SE. NE. N. N. N | ||
CF | | ||
CF | | ||
CF | Field, west side (riding the bicycle) | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or back northwest to the | ||
CF | beach. That horsefly's hovering around to the northeast. That big | ||
CF | tower's to the east. | ||
CF | | ||
CF | The horsefly just went southwest. | ||
CF | | ||
CF | Field, north side (riding the bicycle) | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door to the north. That horsefly's | ||
CF | wandering around to the southwest. That big tower's to the south. | ||
CF | | ||
CF | The horsefly just went northeast. | ||
CF | | ||
CF | (Tiffany tucks her hair behind her ear.) | ||
CF | | ||
CF | Street, by the subway entrance (riding the bicycle) | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Dining Room (riding the bicycle) | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go back out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | (first opening the swinging doors) | ||
CF | (okay, first getting off the bicycle) | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer is to the west, and some stairs lead down. | ||
CF | | ||
CF | > | DavidW says, "Need a raft or canoe, maybe." | |
Perry says (to ClubFloyd), "d" | ||
CF ] Darkness | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | | ||
CF | Too dark to see | ||
CF | I can't see anything—it's pitch dark. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on camera" | ||
CF ] Basement | ||
CF | > | ||
CF | > TURN ON CAMERA | ||
CF | | ||
CF | Okay, I switched on the light, and- oh, my God! Oh, my God! | ||
CF | | ||
CF | Sorry, um, I got startled. There's someone here, a man, tied to a | ||
CF | chair. | ||
CF | | ||
CF | (Claire suddenly inhales the deep breath of awakening, but does | ||
CF | not open her eyes. Then, in a deep voice, a man's voice, a voice you | ||
CF | haven't heard in years, she says:) "Who's there?" | ||
CF | | ||
CF | 1) "Wow," Tiff mutters. "When did Claire get so good at doing | ||
CF | voices?" | ||
CF | 2) "No, I don't like that," Jen says. "That's freaking me out. | ||
CF | Tell her to knock it off." | ||
CF | 3) You could also have her tell him she's there. | ||
CF | | ||
CF | > | Perry asks, "Twooooooo?" | |
Knight_Otu says, "Let's try it." | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Basement | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | (You tell Claire that Jen wants her to stop.) | ||
CF | | ||
CF | (Claire does not acknowledge you. Instead, she says in that same | ||
CF | deep voice:) "Claire? Claire, honey, is that you?" | ||
CF | | ||
CF | 1) "Wait," Tiff says. "How'd he know it was Claire?" | ||
CF | 2) You could also have her tell him she's there. | ||
CF | | ||
CF | > | DavidW says, "your choice" | |
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "How did you know it was me?" (Claire asks.) | ||
CF | | ||
CF | "I'd know my little girl anywhere," (she replies in the deeper | ||
CF | voice.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Basement | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | (Claire parrots your words back to you.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Basement | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | "How did you know it was me?" (Claire asks.) | ||
CF | | ||
CF | "I'd know my little girl anywhere," (she replies in the deeper | ||
CF | voice.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | [There is no choice corresponding to that number.] | ||
CF | | ||
CF | > | Perry says, "Um." | |
Perry says (to ClubFloyd), "u" | ||
CF ] Basement | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | (Claire parrots your words back to you.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Basement | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | [There is no choice corresponding to that number.] | ||
CF | | ||
CF | > | Knight_Otu says, "Uh." | |
Perry says (to ClubFloyd), "talk to man" | ||
CF ] Basement | ||
CF | > | ||
CF | > TALK TO MAN | ||
CF | | ||
CF | (Claire parrots your words back to you.) | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "0" | ||
CF ] Basement | ||
CF | > | ||
CF | > 0 | ||
CF | | ||
CF | [There is no choice corresponding to that number.] | ||
CF | | ||
CF | > | Perry exclaims, "We win!!" | |
Perry says (to ClubFloyd), "RESTORE" | ||
Perry says (to ClubFloyd), "cf23" | ||
CF | > | ||
CF | > RESTORE | ||
CF | %% Enter a save filename to read: | ||
CF ] Kitchen | ||
CF | Story restored. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Darkness | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | | ||
CF | Too dark to see | ||
CF | I can't see anything—it's pitch dark. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on camera" | ||
CF ] Basement | ||
CF | > | ||
CF | > TURN ON CAMERA | ||
CF | | ||
CF | Okay, I switched on the light, and- oh, my God! Oh, my God! | ||
CF | | ||
CF | Sorry, um, I got startled. There's someone here, a man, tied to a | ||
CF | chair. | ||
CF | | ||
CF | (Claire suddenly inhales the deep breath of awakening, but does | ||
CF | not open her eyes. Then, in a deep voice, a man's voice, a voice you | ||
CF | haven't heard in years, she says:) "Who's there?" | ||
CF | | ||
CF | 1) "Wow," Tiff mutters. "When did Claire get so good at doing | ||
CF | voices?" | ||
CF | 2) "No, I don't like that," Jen says. "That's freaking me out. | ||
CF | Tell her to knock it off." | ||
CF | 3) You could also have her tell him she's there. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | (Claire does not acknowledge your question. Instead, she says in | ||
CF | that same deep voice:) "Claire? Claire, honey, is that you?" | ||
CF | | ||
CF | 1) "Wait," Tiff says. "How'd he know it was Claire?" | ||
CF | 2) "Emily!" Jen hisses. "I'm being serious! I want to stop." | ||
CF | 3) You could also have her tell him she's there. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "How did you know it was me?" (Claire asks.) | ||
CF | | ||
CF | "I'd know my little girl anywhere," (she replies in the deeper | ||
CF | voice.) | ||
CF | | ||
CF | 1) "Emily!" Jen says. "For real, cut it out! Wake her up!" | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You tell Claire that it's time to wake up.) | ||
CF | | ||
CF | (After a moment, Claire parrots your words back to you. Then, in | ||
CF | that deep voice, she says:) "What's that? ...Oh. Oh, are you not | ||
CF | alone?" | ||
CF | | ||
CF | 1) You could say hello. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Hi," you say.) | ||
CF | | ||
CF | "Hi," (Claire parrots, then sucks in a breath.) | ||
CF | | ||
CF | "Is that my Emily's voice?" (She says, deeper.) "You sound so | ||
CF | big. How long has it been?" | ||
CF | | ||
CF | 1) "Oh!" Tiff exclaims. "Ask him how he got here!" | ||
CF | 2) You could also tell him it's been ten years. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "How did you get here?" (Claire asks.) | ||
CF | | ||
CF | "I was captured," (she replies in the deeper voice.) | ||
CF | "Tricked, really. I'm so glad you've come to free me." | ||
CF | | ||
CF | 1) You could also ask who tied him up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Who did this to you?" you ask.) | ||
CF | | ||
CF | "Who did this to you?" (Claire parrots.) | ||
CF | | ||
CF | "You must know how this place works by now," (she begins in the | ||
CF | lower voice.) "It's not just a series of places and doors | ||
CF | connected in ways that make no sense. It has a consciousness, and an | ||
CF | agenda. It can trick you. I suppose I was just, confused | ||
CF | and... credulous when I got here." | ||
CF | | ||
CF | 1) "Wait, this is your dad, yeah? Am I reading that right?" Tiff | ||
CF | asks. "So, like, when did he get here?" | ||
CF | 2) You could also ask why he was tied up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("How long have you been down here, dad?" you ask.) | ||
CF | | ||
CF | "How long have you been down here, dad?" (Claire parrots.) | ||
CF | | ||
CF | "Well, I woke up in this world right after my accident," (the | ||
CF | lower voice muses.) "So, however long it's been since then. It | ||
CF | doesn't feel like very long, but I guess it must have been." | ||
CF | | ||
CF | 1) You could also ask why he was tied up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Why were you tied up?" you ask.) | ||
CF | | ||
CF | "Why why were you tied up?" (Claire parrots.) | ||
CF | | ||
CF | "Who knows how these things work?" (The lower voice snaps.) | ||
CF | "Sorry. I'm sorry, but I truly have no idea. If it's all the same to | ||
CF | you, I just would really rather not be tied up anymore." | ||
CF | | ||
CF | 1) You could tell him that you need some time to think first. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("I need some time to think," you say. "We need some time | ||
CF | to deliberate.") | ||
CF | | ||
CF | (Claire parrots your words, then sighs in resignation.) | ||
CF | | ||
CF | "Take all the time you need, dear," (the lower voice says.) | ||
CF | "I'm not going anywhere." | ||
CF | | ||
CF | ("So are we going to talk about it?" Jen demands. | ||
CF | | ||
CF | You get the feeling it's best not to have this conversation with | ||
CF | Claire in the same room as him. You think maybe returning her to the | ||
CF | mirror of your living room will be far enough.) | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "untie dad" | ||
CF ] Basement | ||
CF | > | ||
CF | > UNTIE DAD | ||
CF | | ||
CF | (I'm assuming you mean from the rope) | ||
CF | | ||
CF | Okay, I'm untying him. Oh, uh. As soon as I unknotted the rope, it | ||
CF | kind of just... dissolved. | ||
CF | | ||
CF | "Thank you, dear," (the lower voice says.) "Now come with me. | ||
CF | I know a way out." | ||
CF | | ||
CF | 1) You could tell him to lead the way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo" | ||
CF ] Basement | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Basement | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Basement | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | > | Perry says, "Let's try talking first I guess." | |
Perry says (to ClubFloyd), "u. w" | ||
CF ] Foyer | ||
CF | > | ||
CF | > U. W | ||
CF | | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's to the west, and stairs lead back down to | ||
CF | the basement. | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's west, and the kitchen's back across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's back to the east. Also, | ||
CF | that red door leads south. | ||
CF | | ||
CF | "Okay," you say. "What do we think?" | ||
CF | | ||
CF | "I don't want any part of this," Jen says immediately. "I'm not having | ||
CF | fun and I don't want to do this anymore." | ||
CF | | ||
CF | "Hold on, I think I'm remembering something," Tiff says. "Gimme a sec | ||
CF | to look it up." | ||
CF | | ||
CF | "I want to untie him," Claire mumbles. | ||
CF | | ||
CF | 1) You could agree with Jen, or | ||
CF | 2) you could agree with Claire. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | "I agree with Claire," you say. "I think we should untie him." | ||
CF | | ||
CF | "No, uh-uh," Jen insists. "Em, can't you see what's going on here? | ||
CF | Claire obviously somehow hasn't processed the death of your | ||
CF | dad-" | ||
CF | | ||
CF | "That's not fair!" Claire cuts in. Simultaneously, Tiff mumbles "It's | ||
CF | juat a game," but Jen continues nonetheless. | ||
CF | | ||
CF | "-and now she's using this game to play out some kind of | ||
CF | daddy-in-distress fantasy where she can save him. And I want no part | ||
CF | of it." | ||
CF | | ||
CF | 1) You could agree with Tiff, | ||
CF | 2) insist that it's not a game, or | ||
CF | 3) defend your sister. | ||
CF | | ||
CF | > | Perry says, "I think Jen is 100% right." | |
DavidW says, "I don't know what's correct yet." | ||
Perry says, "Well, I think there's also a weird level that seems outside of the three of us. It seems like there's some power above everything that 'created' the world." | ||
Perry says, "Whoever wrote the note. They didn't finish creating the bathroom because they didn't think we would go there, I think." | ||
Perry says (to ClubFloyd), "3" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 3 | ||
CF | | ||
CF | "Hey," you snap at Jen. "Back off my sister." | ||
CF | | ||
CF | "Tell me you're joking," Jen says, before registering your unchanging | ||
CF | expression. "You know what?" She says finally. "I'm gonna call my mom. | ||
CF | I think I'm going home." | ||
CF | | ||
CF | 1) You could try to placate Jen, or | ||
CF | 2) you could double down. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | "Come on, Jen," you say. "Don't leave. I'm sorry. I'm just not okay | ||
CF | with you saying those things about Claire—that's my sister." | ||
CF | | ||
CF | Jen pauses a moment before sighing and sitting back down. "Look," she | ||
CF | says. "You know I love you. But I can't do this anymore. I know I | ||
CF | can't stop you, but you can count me out. I'll just be over here on my | ||
CF | phone or something." | ||
CF | | ||
CF | Tiff puts her phone down. Looks like she's given up on whatever she | ||
CF | was searching for. | ||
CF | | ||
CF | After a long moment of silence, Claire says "Do we keep going?" | ||
CF | | ||
CF | "Yeah," you say. "Let's do that." | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's back to the east. Also, | ||
CF | that red door leads south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e. e. d" | ||
CF ] Basement | ||
CF | > | ||
CF | > E. E. D | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's back west, and the kitchen's across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's back to the west, and some stairs lead down | ||
CF | to the basement. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to dad" | ||
CF ] Basement | ||
CF | > | ||
CF | > TALK TO DAD | ||
CF | | ||
CF | "Have you made your decision yet?" (Claire asks in his | ||
CF | voice.) | ||
CF | "My arms are numb." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | Perry says, "What could go wrong." | |
Perry says (to ClubFloyd), "untie dad" | ||
CF ] Basement | ||
CF | > | ||
CF | > UNTIE DAD | ||
CF | | ||
CF | (I'm assuming you mean from the rope) | ||
CF | | ||
CF | Okay, I'm untying him. Oh, uh. As soon as I unknotted the rope, it | ||
CF | kind of just... dissolved. | ||
CF | | ||
CF | "Thank you, dear," (the lower voice says.) "Now come with me. | ||
CF | I know a way out." | ||
CF | | ||
CF | 1) You could tell him to lead the way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Lead the way," you say.) | ||
CF | | ||
CF | "Lead the way," (Claire parrots.) | ||
CF | | ||
CF | "It's just through here," (the lower voice replies.) | ||
CF | | ||
CF | Uh, he just walked into a tunnel in the east wall. I'm pretty | ||
CF | sure that wasn't there before. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. The chair that dad was tied to is sitting | ||
CF | in the center of the room. | ||
CF | | ||
CF | I can go back up to the kitchen, or I can follow Dad | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo. undo" | ||
CF ] Basement | ||
CF | > | ||
CF | > UNDO. UNDO | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo" | ||
CF ] Basement | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Basement | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo" | ||
CF ] Basement | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Basement | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x dad" | ||
CF ] Basement | ||
CF | > | ||
CF | > X DAD | ||
CF | | ||
CF | (Claire parrots your words back to you.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "l" | ||
CF ] Basement | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | "Thank you, dear," (the lower voice says.) "Now come with me. | ||
CF | I know a way out." | ||
CF | | ||
CF | 1) You could tell him to lead the way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo" | ||
CF ] Basement | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Basement | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo" | ||
CF ] Basement | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Basement | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x dad" | ||
CF ] Basement | ||
CF | > | ||
CF | > X DAD | ||
CF | | ||
CF | (Claire parrots your words back to you.) | ||
CF | | ||
CF | > | Perry says, "Meh." | |
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Lead the way," you say.) | ||
CF | | ||
CF | "Lead the way," (Claire parrots.) | ||
CF | | ||
CF | "It's just through here," (the lower voice replies.) | ||
CF | | ||
CF | Uh, he just walked into a tunnel in the east wall. I'm pretty | ||
CF | sure that wasn't there before. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. The chair that dad was tied to is sitting | ||
CF | in the center of the room. | ||
CF | | ||
CF | I can go back up to the kitchen, or I can follow Dad | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] tunnel | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | tunnel | ||
CF | Dozens of corpses line the floor. I don't want to spend too long here. | ||
CF | I can go out to the subway tracks, or west to the | ||
CF | basement. | ||
CF | | ||
CF | Dad's here. | ||
CF | | ||
CF | "It's just here, through this door," (the lower voice says.) | ||
CF | | ||
CF | He's pointing to an ancient door set into the south wall. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x dad" | ||
CF ] tunnel | ||
CF | > | ||
CF | > X DAD | ||
CF | | ||
CF | He's tall. He does look like us, I guess. He's wearing a suit. | ||
CF | | ||
CF | > | Perry says, "Called it, wearing a suit." | |
DavidW says, "uh-huh" | ||
Perry says (to ClubFloyd), "ask dad about corpses" | ||
CF ] tunnel | ||
CF | > | ||
CF | > ASK DAD ABOUT CORPSES | ||
CF | | ||
CF | [To interact with someone verbally in Red Door Yellow Door, | ||
CF | you need only TALK TO them.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to dad" | ||
CF ] tunnel | ||
CF | > | ||
CF | > TALK TO DAD | ||
CF | | ||
CF | "It's just here, south through this door," (the lower voice | ||
CF | repeats.) | ||
CF | | ||
CF | > | Perry says, "I think this is a trap." | |
Perry says (to ClubFloyd), "s" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | (first opening the ancient door) | ||
CF | | ||
CF | ??? | ||
CF | This space is all draped in loose, white cloth. It's all I can see in | ||
CF | all directions, but I can't see very far. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x cloth" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > X CLOTH | ||
CF | | ||
CF | Large, white cloth, draped all around, above, and under. I can tell | ||
CF | it's all one piece. | ||
CF | | ||
CF | It's actually pretty nice in here. The cloth is super soft, and it | ||
CF | feels like there's a warm breeze. I guess I feel a sense of... | ||
CF | contentment? I can hear birds chirping. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "touch cloth" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > TOUCH CLOTH | ||
CF | | ||
CF | This cloth is vaster than the universe. | ||
CF | | ||
CF | Now, wait a minute, I can actually hear some voices. Like, the sound | ||
CF | of someone whispering. I can't hear what they're saying, though. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "listen" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > LISTEN | ||
CF | | ||
CF | Okay, wait, the voices are getting louder. They're speaking now, but I | ||
CF | still can't tell what they're saying. It's all sharp and loud. | ||
CF | Something's wrong. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "g" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > G | ||
CF | | ||
CF | Oh- oh, God. The cloth, it's... corrupting. Splotches of inky darkness | ||
CF | spreading over the whole thing, and it's getting more and more | ||
CF | wrinkled. I can see the outlines of people on the other side. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "pull cloth" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > PULL CLOTH | ||
CF | | ||
CF | The large cloth won't budge. I can't move it. | ||
CF | | ||
CF | No, no, they're screaming. Gibbering and howling, and... it's not | ||
CF | words, but I know exactly what they mean. They hate me. They | ||
CF | hate each other. They hate themselves. All they are is hate, and they | ||
CF | are all I can hear. Terrible, all-encompassing. This must be the only | ||
CF | sound that's ever existed. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | I... I can't find the door. I can't find the door! | ||
CF | | ||
CF | (Claire's breath grows short and rapid, like a hummingbird's | ||
CF | heartbeat.) | ||
CF | | ||
CF | | ||
CF | There's nothing I can do. They're pressing their hands into the cloth, | ||
CF | some of them. They want to do something horrible to me. Some of them | ||
CF | are arguing between themselves. Some of them are fighting, grappling | ||
CF | on the ground, snarling and wailing and tearing at each other like | ||
CF | animals. A mass of writhing people and faces frozen in anger with | ||
CF | their mouths permanently open, shrieking and wailing at each other. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] The Tower of Babel | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | No, there's cloth that way. I can't push through. | ||
CF | | ||
CF | The cloth is tearing. The crowd is larger than I thought. Larger than | ||
CF | the Universe. No, they are the Universe. The entire | ||
CF | Universe. | ||
CF | A mass of billions of screaming people, a wall of wailing faces. | ||
CF | | ||
CF | I don't understand. Am I the only one who understands? Why are they | ||
CF | all screaming at each other? Everything could be perfect if they would | ||
CF | just stop for a single moment! None of them even remember why | ||
CF | they're fighting! Everything could be peaceful. | ||
CF | | ||
CF | But they just keep on screaming. Nothing will stop them. Their screams | ||
CF | will echo in my ears forever. Forever all I'll hear is screaming. | ||
CF | They'll never stop. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | No, there's cloth that way. I can't push through. | ||
CF | | ||
CF | They're pressing in. The cloth is getting closer. I have no room. I | ||
CF | can't breathe. The cloth is the Universe. The screaming is the | ||
CF | Universe. The Universe is ruined. Something has been stripped away, | ||
CF | and it will never return. They'll tear all the way through soon. The | ||
CF | cloth and the crowd and the Universe are getting closer and closer and | ||
CF | it's all I can see and I am the whole world and it is the whole world | ||
CF | and I and it and they and we are ruined forever. | ||
CF | | ||
CF | (She pauses for a moment, and then desperately, she cries:) | ||
CF | Help me, Emily! | ||
CF | | ||
CF | [Press any key to continue.] | ||
Perry pushes the green 'space' button. | ||
CF ] Real Living Room | ||
CF | [Press any key to continue.] | ||
CF | | ||
CF | Living Room | ||
CF | You are Emily. You are sitting in your living room and your sister is | ||
CF | asking for your help. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wake up" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > WAKE UP | ||
CF | | ||
CF | As far as you can tell, you're fully lucid. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wake up claire" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > WAKE UP CLAIRE | ||
CF | | ||
CF | Try as you might, she won't respond to you. | ||
CF | | ||
CF | Suddenly from your sister's mouth erupts a torrent of words, sounding | ||
CF | as if spoken by the entire world: "A hole at the center. Waiting by a | ||
CF | window. Worrying silence. Catastrophe. Mother weeping. Choking on | ||
CF | blood. Abandonment. Rust-red hands. Migraines. Poignant misery. | ||
CF | Funeral rites. Water thick with blood. Shivering grayness." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "shake claire" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > SHAKE CLAIRE | ||
CF | | ||
CF | That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "push claire" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > PUSH CLAIRE | ||
CF | | ||
CF | She doesn't acknowledge your touch. | ||
CF | | ||
CF | Claire continues: "Torn, bloodied throats. A portal to another world. | ||
CF | The center of a patch of brambles. Abandoned,. tattered toys. Nothing | ||
CF | happening. Confused memory. Whispers in the dark. Nothing ever. | ||
CF | Confusing memories. Gunfire. Nothing forever. Skin inverted. | ||
CF | Suffocating nothingness. Mad gusts tugging on wires. Glimpses of | ||
CF | ghosts. Judas Iscariot. Painful toil. Cowering in holes." | ||
CF | | ||
CF | > | Perry says, "Ummmmmmmmmmmmm" | |
DavidW says, "This is all the radio stuff." | ||
Perry says, "Yea" | ||
Perry says (to ClubFloyd), "slap claire" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > SLAP CLAIRE | ||
CF | | ||
CF | That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to claire" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > TALK TO CLAIRE | ||
CF | | ||
CF | She doesn't acknowledge your words. | ||
CF | | ||
CF | Your sister goes on with her million voices. "A wheel in the sky. | ||
CF | Gashes gushing blood. Deafening machinery. A pale horse. Places of | ||
CF | violence. Fires burning out. Desecrated holy bodies. Eyes sewn shut. | ||
CF | Several thousand men marching. A muscle straining until it snaps. | ||
CF | Mocking sunshine. Despair. Vast, unknowable conspiracies. Blinding | ||
CF | snow. Your deathbed. The cost of war." | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "chant" | ||
CF | > | ||
CF | > CHANT | ||
CF | | ||
CF | You chant the song: "Red door, yellow door, any other color door. Red | ||
CF | door, yellow door, any other color door." As you chant, Tiffany and | ||
CF | Jen join in. Slowly, your sister lowers her hands to her side. | ||
CF | | ||
CF | "Okay, I'm in." | ||
CF | | ||
CF | [Press any key to continue.] | Perry says, "Smort" | |
Perry pushes the green 'space' button. | ||
CF ] Glen | ||
CF | [Press any key to continue.] | ||
CF | | ||
CF | Red Door Yellow Door | ||
CF | An Interactive Diversion by Charm Cochran | ||
CF | Release 1 / Serial number 230402 / Inform 7 v10.1.2 | ||
CF | [First time players should type ABOUT. Credits | ||
CF | are available via CREDITS.] | ||
CF | | ||
CF | Glen | ||
CF | I'm standing in a glen, and there are two doors. One door is red, and | ||
CF | the other is yellow. It doesn't seem like anything is behind them. | ||
CF | | ||
CF | The glen is covered in snow, and all the trees are bare. I don't feel | ||
CF | the cold. Oh, there's sort of a trampled path leading off into the | ||
CF | trees to the east. | ||
CF | | ||
CF | I can see a bicycle here. | ||
CF | | ||
CF | Your sister continues as a crowd. "A starving child. Crows calling. | ||
CF | Flowing out of ourselves. Public ignominy. Merciless icy wind. | ||
CF | Darkness beyond a doorway. A life in vain. One thousand years of | ||
CF | desolation. Half-known faces. Fresh scars. Walking on the ceiling. | ||
CF | Frozen ground. Omniprevalence. The loss of something beloved. Things | ||
CF | known only to the dead. Self-sacrifice for the sake of something | ||
CF | greater." | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "oops" | ||
CF ] Glen | ||
CF | > | ||
CF | > OOPS | ||
CF | | ||
CF | Sorry, I don't think I can correct that. | ||
CF | | ||
CF | > | Jade says, "violence is not the answer..." | |
DavidW says, "I think I messed things up big time." | ||
DavidW says (to ClubFloyd), "undo" | ||
CF ] Real Living Room | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Real Living Room | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | Perry says, "Me too." | |
Knight_Otu says, "Hm." | ||
Perry says (to ClubFloyd), "i" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > I | ||
CF | | ||
CF | You are carrying: | ||
CF | your pinstripe PJs (being worn) | ||
CF | | ||
CF | Claire continues as a crowd. "A starving child. Crows calling. Flowing | ||
CF | out of ourselves. Public ignominy. Merciless icy wind. Darkness beyond | ||
CF | a doorway. A life in vain. One thousand years of desolation. | ||
CF | Half-known faces. Fresh scars. Walking on the ceiling. Frozen ground. | ||
CF | Omniprevalence. The loss of something beloved. Things known only to | ||
CF | the dead. Self-sacrifice for the sake of something greater." | ||
CF | | ||
CF | > | ||
DavidW says (to ClubFloyd), "slap claire" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > SLAP CLAIRE | ||
CF | | ||
CF | That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "rub" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > RUB | ||
CF | | ||
CF | (Claire's temples) | ||
CF | You don't think that can help her now. | ||
CF | | ||
CF | Claire continues with the voices of thousands: "Swallowing hunger. | ||
CF | Patches of dead grass. Gore. Fractured minds. Lengthening shadows. | ||
CF | Accusations of blasphemy. The things that war purchases. Sick earth. | ||
CF | Severed fingers. The dissolution of you. Smoke rising eternally. | ||
CF | Tomorrow's remorse. Forgotten dreams. The end of civilization. Rumors | ||
CF | of war. Emptiness forever. A storm of fire." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | You can't abandon your sister! | ||
CF | | ||
CF | Your sister continues as a crowd. "Swarms of insects. Indecipherable | ||
CF | echoes. Twitching agony. The entire world. An emptiness so vast it | ||
CF | swallows itself. Street lights winking out. A chorus of screams | ||
CF | sounding forever. Being buried in unhallowed ground. An unreachable | ||
CF | shore. Painful orgasm. Open water in all directions. Transcendence. | ||
CF | Adolescent mistakes. Immortality. Cycles of violence." | ||
CF | | ||
CF | > | DavidW says, "No pizza rolls ever" | |
Perry says (to ClubFloyd), "l" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > L | ||
CF | | ||
CF | Real Living Room | ||
CF | Claire writhes on the floor. You, Jen, and Tiffany stand around | ||
CF | helplessly. You pulled the cushions from the couch to make sitting on | ||
CF | the floor more comfortable, and the TV is playing brown noise to help | ||
CF | Claire concentrate. | ||
CF | | ||
CF | You can see Claire here. | ||
CF | | ||
CF | Your sister continues her chant. "Shucking skin. The centuries to | ||
CF | come. Blood money. The openness of a circle. Hundreds of dead animals. | ||
CF | A bottomless pit. Years-long manipulation. A torso opened like a | ||
CF | zipper. The shuddering void. Warm blood. Water swirling with blood. | ||
CF | Vomiting secrets. Legerdemain of God. Sudden white noise." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn off tv" | ||
CF ] Real Living Room | ||
CF | > | ||
CF | > TURN OFF TV | ||
CF | | ||
CF | The remote has a bad habit of going missing at inopportune moments. | ||
CF | | ||
CF | Claire begins to convulse as the sheer volume of the words gets caught | ||
CF | in her throat. She struggles and chokes on them until blood begins to | ||
CF | seep from her nose and her tear ducts. | ||
CF | | ||
CF | Jen screams. Maybe you do, too. | ||
CF | | ||
CF | Claire's eyes fly open as her back arches and she lets out an | ||
CF | unearthly howl. Her eyes are glassy, unseeing. She twitches once more, | ||
CF | then falls still. Blood pools around her head. | ||
CF | | ||
CF | | ||
CF | | ||
CF | *** Your sister is dead. *** | ||
CF | | ||
CF | | ||
CF | | ||
CF | Would you like to RESTART, RESTORE a saved game, QUIT, or UNDO the | ||
CF | last command? | ||
CF | > | Knight_Otu says, "Excuse my apocalypse sister." | |
Perry exclaims, "We win!!" | ||
DavidW says, "yikes" | ||
Perry says, "We go to 4, right? I'd love to continue, but this seems like a good stopping place." | ||
Jade asks, "do you think?" | ||
Knight_Otu says, "I'm sure we can get to a better ending quickly enough." | ||
Perry exclaims, "Okay!" | ||
Jade asks, "do we win?" | ||
Perry says (to ClubFloyd), "RESTORE" | ||
Perry says (to ClubFloyd), "cf23" | ||
CF | > | ||
CF | > RESTORE | ||
CF | %% Enter a save filename to read: | ||
CF ] Kitchen | ||
CF | Story restored. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Darkness | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | | ||
CF | Too dark to see | ||
CF | I can't see anything—it's pitch dark. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on camera" | ||
CF ] Basement | ||
CF | > | ||
CF | > TURN ON CAMERA | ||
CF | | ||
CF | Okay, I switched on the light, and- oh, my God! Oh, my God! | ||
CF | | ||
CF | Sorry, um, I got startled. There's someone here, a man, tied to a | ||
CF | chair. | ||
CF | | ||
CF | (Claire suddenly inhales the deep breath of awakening, but does | ||
CF | not open her eyes. Then, in a deep voice, a man's voice, a voice you | ||
CF | haven't heard in years, she says:) "Who's there?" | ||
CF | | ||
CF | 1) "Wow," Tiff mutters. "When did Claire get so good at doing | ||
CF | voices?" | ||
CF | 2) "No, I don't like that," Jen says. "That's freaking me out. | ||
CF | Tell her to knock it off." | ||
CF | 3) You could also have her tell him she's there. | ||
CF | | ||
CF | > | DavidW says, "A better ending would be nice." | |
Perry says (to ClubFloyd), "3" | ||
CF ] Basement | ||
CF | > | ||
CF | > 3 | ||
CF | | ||
CF | (You tell Claire to speak up.) | ||
CF | | ||
CF | "It's me," (she says.)"It's Claire." | ||
CF | | ||
CF | "Claire, thank God," (she responds in the deeper voice.) "You | ||
CF | need to untie me. We don't have much time." | ||
CF | | ||
CF | 1) "Wait," Tiff says. "How'd he know it was Claire?" | ||
CF | 2) "Emily!" Jen hisses. "I'm being serious! I want to stop." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "How did you know it was me?" (Claire asks.) | ||
CF | | ||
CF | "I'd know my little girl anywhere," (she replies in the deeper | ||
CF | voice.) | ||
CF | | ||
CF | 1) "Emily!" Jen says. "For real, cut it out! Wake her up!" | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You tell Claire that it's time to wake up.) | ||
CF | | ||
CF | (After a moment, Claire parrots your words back to you. Then, in | ||
CF | that deep voice, she says:) "What's that? ...Oh. Oh, are you not | ||
CF | alone?" | ||
CF | | ||
CF | 1) You could say hello. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Hi," you say.) | ||
CF | | ||
CF | "Hi," (Claire parrots, then sucks in a breath.) | ||
CF | | ||
CF | "Is that my Emily's voice?" (She says, deeper.) "You sound so | ||
CF | big. How long has it been?" | ||
CF | | ||
CF | 1) "Oh!" Tiff exclaims. "Ask him how he got here!" | ||
CF | 2) You could also tell him it's been ten years. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Basement | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | ("It's been ten years," you choke out.) | ||
CF | | ||
CF | "It's been ten years," (Claire repeats in your same broken | ||
CF | voice.) | ||
CF | | ||
CF | "Ten years," (the deeper voice muses.) "I'm sorry I left you | ||
CF | alone for that long." | ||
CF | | ||
CF | 1) "Em!" Tiff prods. "Ask him how he got here!" | ||
CF | 2) You could also ask who tied him up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Basement | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | ("Who did this to you?" you ask.) | ||
CF | | ||
CF | "Who did this to you?" (Claire parrots.) | ||
CF | | ||
CF | "You must know how this place works by now," (she begins in the | ||
CF | lower voice.) "It's not just a series of places and doors | ||
CF | connected in ways that make no sense. It has a consciousness, and an | ||
CF | agenda. It can trick you. I suppose I was just, confused | ||
CF | and... credulous when I got here." | ||
CF | | ||
CF | 1) "Wait, this is your dad, yeah? Am I reading that right?" Tiff | ||
CF | asks. "So, like, when did he get here?" | ||
CF | 2) You could also ask why he was tied up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Basement | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | ("Why were you tied up?" you ask.) | ||
CF | | ||
CF | "Why why were you tied up?" (Claire parrots.) | ||
CF | | ||
CF | "Who knows how these things work?" (The lower voice snaps.) | ||
CF | "Sorry. I'm sorry, but I truly have no idea. If it's all the same to | ||
CF | you, I just would really rather not be tied up anymore." | ||
CF | | ||
CF | 1) You could tell him that you need some time to think first. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("I need some time to think," you say. "We need some time | ||
CF | to deliberate.") | ||
CF | | ||
CF | (Claire parrots your words, then sighs in resignation.) | ||
CF | | ||
CF | "Take all the time you need, dear," (the lower voice says.) | ||
CF | "I'm not going anywhere." | ||
CF | | ||
CF | ("So are we going to talk about it?" Jen demands. | ||
CF | | ||
CF | You get the feeling it's best not to have this conversation with | ||
CF | Claire in the same room as him. You think maybe returning her to the | ||
CF | mirror of your living room will be far enough.) | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "untie dad" | ||
CF ] Basement | ||
CF | > | ||
CF | > UNTIE DAD | ||
CF | | ||
CF | (assuming you mean from the rope) | ||
CF | | ||
CF | Okay, I'm untying him. Oh, uh. As soon as I unknotted the rope, it | ||
CF | kind of just... dissolved. | ||
CF | | ||
CF | "Thank you, dear," (the lower voice says.) "Now come with me. | ||
CF | I know a way out." | ||
CF | | ||
CF | 1) You could tell him to lead the way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Lead the way," you say.) | ||
CF | | ||
CF | "Lead the way," (Claire parrots.) | ||
CF | | ||
CF | "It's just through here," (the lower voice replies.) | ||
CF | | ||
CF | Uh, he just walked into a tunnel in the east wall. I'm pretty | ||
CF | sure that wasn't there before. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. The chair that dad was tied to is sitting | ||
CF | in the center of the room. | ||
CF | | ||
CF | I can go back up to the kitchen, or I can follow Dad | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] tunnel | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | tunnel | ||
CF | Dozens of corpses line the floor. I don't want to spend too long here. | ||
CF | I can go out to the subway tracks, or west to the | ||
CF | basement. | ||
CF | | ||
CF | Dad's here. | ||
CF | | ||
CF | "It's just here, through this door," (the lower voice says.) | ||
CF | | ||
CF | He's pointing to an ancient door set into the south wall. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "out" | ||
CF ] Tracks | ||
CF | > | ||
CF | > OUT | ||
CF | | ||
CF | | ||
CF | Tracks | ||
CF | Okay, I'm standing on the subway tracks. There are rails on the ground | ||
CF | for the trains to run on. | ||
CF | | ||
CF | I can hop up onto the platform, or go into the tunnel to the | ||
CF | west. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Subway Platform | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Subway Platform | ||
CF | It's the subway platform, but deserted. There's a bench, some ad | ||
CF | panels, and a map lining one wall. There's a schedule hanging from the | ||
CF | ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles stand in front of the stairs | ||
CF | up to the street. I can also go north to the glen | ||
CF | through the yellow door. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | Okay, I swiped the card and the turnstiles have opened. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | back down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Empty Space | ||
CF | There's nothing in here. Huge room, high ceiling. Wood paneled walls, | ||
CF | green carpeted floor. I can go back out to the street to the | ||
CF | west. | ||
CF | | ||
CF | That clock is in the corner. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "wait" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > WAIT | ||
CF | | ||
CF | I'll wait a bit. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > X CLOCK | ||
CF | | ||
CF | It's... fascinating. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "g" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > G | ||
CF | | ||
CF | It's so fascinating. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "g" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > G | ||
CF | | ||
CF | It's so fascinating. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "read clock" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > READ CLOCK | ||
CF | | ||
CF | It's so fascinating. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That big tower's | ||
CF | to the south. | ||
CF | | ||
CF | There's a real big fly here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "climb fly" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > CLIMB FLY | ||
CF | | ||
CF | Okay, I'm on. Oh, it looks like it finished with the meat. Now it's- | ||
CF | oh, woah, it's taking flight. We're flying! I have to hold on. | ||
CF | | ||
CF | Atop the Tower | ||
CF | Okay I'm off. It flew me all the way to the top of the tower, but then | ||
CF | it buzzed back down. Now I'm standing on the platform at the very top. | ||
CF | There's a waist-high railing at the edge, and the wind is whipping | ||
CF | hard around me. There's a hole in the floor with a ladder leading | ||
CF | down. | ||
CF | | ||
CF | I am the only one who has ever stood here before. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "read note" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > READ NOTE | ||
CF | | ||
CF | You want me to read it again? Okay. It says: | ||
CF | | ||
CF | "If you found this where I put it and you seek what I sought, know you | ||
CF | haven't gone high enough yet. | ||
CF | | ||
CF | "I managed to trap him. For your sake, I hope you found this note | ||
CF | before he's freed. He won't let you escape once he's free, but I made | ||
CF | a failsafe. Had to give up a lot to create it, so don't let it go to | ||
CF | waste. | ||
CF | | ||
CF | "You'll need to find a way to get to the highest point. I made that, | ||
CF | too, but you'll need to lure it to you somehow. I can't write how | ||
CF | here. I'm certain he won't figure it out on his own, but I can't risk | ||
CF | him finding this paper. If he's free, the highest point is the only | ||
CF | place you can escape from. | ||
CF | | ||
CF | "Good luck, fellow traveler." | ||
CF | | ||
CF | > | Perry says, "Hmm" | |
Perry says (to ClubFloyd), "wake" | ||
CF ] Atop the Tower | ||
CF | > | ||
CF | > WAKE | ||
CF | | ||
CF | Are you sure? Once I'm awake again I'm not going back under. | ||
CF | | ||
CF | [Please answer yes or no.] | ||
Perry says (to ClubFloyd), "yes" | ||
CF | [Please answer yes or no.] | ||
CF | > YES | ||
CF | | ||
CF | Alright. Resurfacing. | ||
CF | | ||
CF | [Press any key to continue.] | ||
Perry pushes the green 'space' button. | ||
CF ] Real Living Room | ||
CF | [Press any key to continue.] | ||
CF | | ||
CF | Living Room | ||
CF | Claire suddenly gasps and sits bolt upright. | ||
CF | | ||
CF | "Are you alright?" You ask. "Back with us?" | ||
CF | | ||
CF | "Yeah, yeah I am," Claire says, pulling you into a hug. | ||
CF | | ||
CF | "How are you feeling?" Jen asks, sounding mildly concerned. | ||
CF | | ||
CF | Your conversation is interrupted by Claire's stomach growling loudly. | ||
CF | The four of you share a chuckle. | ||
CF | | ||
CF | "Hungry, I guess," Claire says. "Who's up for pizza rolls?" | ||
CF | | ||
CF | "That sounds perfect," you say. "Let's go heat some up." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "RESTORE" | ||
Perry says (to ClubFloyd), "cf23" | ||
CF | > | ||
CF | > RESTORE | ||
CF | %% Enter a save filename to read: | ||
CF ] Kitchen | ||
CF | Story restored. | ||
CF | | ||
CF | > | Perry says, "I suspect the key is with the conversation in the living room, after we wake him up" | |
Perry says, "Or with the intern, but I'm dubious about that." | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Darkness | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | | ||
CF | Too dark to see | ||
CF | I can't see anything—it's pitch dark. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "turn on camera" | ||
CF ] Basement | ||
CF | > | ||
CF | > TURN ON CAMERA | ||
CF | | ||
CF | Okay, I switched on the light, and- oh, my God! Oh, my God! | ||
CF | | ||
CF | Sorry, um, I got startled. There's someone here, a man, tied to a | ||
CF | chair. | ||
CF | | ||
CF | (Claire suddenly inhales the deep breath of awakening, but does | ||
CF | not open her eyes. Then, in a deep voice, a man's voice, a voice you | ||
CF | haven't heard in years, she says:) "Who's there?" | ||
CF | | ||
CF | 1) "Wow," Tiff mutters. "When did Claire get so good at doing | ||
CF | voices?" | ||
CF | 2) "No, I don't like that," Jen says. "That's freaking me out. | ||
CF | Tell her to knock it off." | ||
CF | 3) You could also have her tell him she's there. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "3" | ||
CF ] Basement | ||
CF | > | ||
CF | > 3 | ||
CF | | ||
CF | (You tell Claire to speak up.) | ||
CF | | ||
CF | "It's me," (she says.)"It's Claire." | ||
CF | | ||
CF | "Claire, thank God," (she responds in the deeper voice.) "You | ||
CF | need to untie me. We don't have much time." | ||
CF | | ||
CF | 1) "Wait," Tiff says. "How'd he know it was Claire?" | ||
CF | 2) "Emily!" Jen hisses. "I'm being serious! I want to stop." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Basement | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | (You tell Claire that it's time to wake up.) | ||
CF | | ||
CF | (After a moment, Claire parrots your words back to you. Then, in | ||
CF | that deep voice, she says:) "What's that? ...Oh. Oh, are you not | ||
CF | alone?" | ||
CF | | ||
CF | 1) You could say hello. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Hi," you say.) | ||
CF | | ||
CF | "Hi," (Claire parrots, then sucks in a breath.) | ||
CF | | ||
CF | "Is that my Emily's voice?" (She says, deeper.) "You sound so | ||
CF | big. How long has it been?" | ||
CF | | ||
CF | 1) "Oh!" Tiff exclaims. "Ask him how he got here!" | ||
CF | 2) You could also tell him it's been ten years. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | (You relay the question to Claire.) | ||
CF | | ||
CF | "How did you get here?" (Claire asks.) | ||
CF | | ||
CF | "I was captured," (she replies in the deeper voice.) | ||
CF | "Tricked, really. I'm so glad you've come to free me." | ||
CF | | ||
CF | 1) You could also ask who tied him up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Who did this to you?" you ask.) | ||
CF | | ||
CF | "Who did this to you?" (Claire parrots.) | ||
CF | | ||
CF | "You must know how this place works by now," (she begins in the | ||
CF | lower voice.) "It's not just a series of places and doors | ||
CF | connected in ways that make no sense. It has a consciousness, and an | ||
CF | agenda. It can trick you. I suppose I was just, confused | ||
CF | and... credulous when I got here." | ||
CF | | ||
CF | 1) "Wait, this is your dad, yeah? Am I reading that right?" Tiff | ||
CF | asks. "So, like, when did he get here?" | ||
CF | 2) You could also ask why he was tied up. | ||
CF | | ||
CF | > | DavidW says, "I don't know what to do. There's a lot I don't understand yet." | |
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("How long have you been down here, dad?" you ask.) | ||
CF | | ||
CF | "How long have you been down here, dad?" (Claire parrots.) | ||
CF | | ||
CF | "Well, I woke up in this world right after my accident," (the | ||
CF | lower voice muses.) "So, however long it's been since then. It | ||
CF | doesn't feel like very long, but I guess it must have been." | ||
CF | | ||
CF | 1) You could also ask why he was tied up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Why were you tied up?" you ask.) | ||
CF | | ||
CF | "Why why were you tied up?" (Claire parrots.) | ||
CF | | ||
CF | "Who knows how these things work?" (The lower voice snaps.) | ||
CF | "Sorry. I'm sorry, but I truly have no idea. If it's all the same to | ||
CF | you, I just would really rather not be tied up anymore." | ||
CF | | ||
CF | 1) You could tell him that you need some time to think first. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("I need some time to think," you say. "We need some time | ||
CF | to deliberate.") | ||
CF | | ||
CF | (Claire parrots your words, then sighs in resignation.) | ||
CF | | ||
CF | "Take all the time you need, dear," (the lower voice says.) | ||
CF | "I'm not going anywhere." | ||
CF | | ||
CF | ("So are we going to talk about it?" Jen demands. | ||
CF | | ||
CF | You get the feeling it's best not to have this conversation with | ||
CF | Claire in the same room as him. You think maybe returning her to the | ||
CF | mirror of your living room will be far enough.) | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "SAVE" | ||
Perry says (to ClubFloyd), "cf24" | ||
CF | > | ||
CF | > SAVE | ||
CF | %% Enter a save filename to write: | ||
CF ] Basement | ||
CF | > SAVEStory saved. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Kitchen | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's to the west, and some stairs lead back down | ||
CF | to the basement. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w. w" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > W. W | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's west, and the kitchen's back across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's back to the east. Also, | ||
CF | that red door leads south. | ||
CF | | ||
CF | "Okay," you say. "What do we think?" | ||
CF | | ||
CF | "I don't want any part of this," Jen says immediately. "I'm not having | ||
CF | fun and I don't want to do this anymore." | ||
CF | | ||
CF | "Hold on, I think I'm remembering something," Tiff says. "Gimme a sec | ||
CF | to look it up." | ||
CF | | ||
CF | "I want to untie him," Claire mumbles. | ||
CF | | ||
CF | 1) You could agree with Jen, or | ||
CF | 2) you could agree with Claire. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | "I agree with Jen," you say. "I think this has gone far enough." | ||
CF | | ||
CF | "Come on, Em!" Claire whines. "I know you could tell it was him!" | ||
CF | | ||
CF | "No, Claire, stop it!" Jen shouts. "It's clear you haven't processed | ||
CF | the death of your dad, and I'm sorry that's happening. But you don't | ||
CF | get to use this to play out some kind of daddy-in-distress fantasy | ||
CF | where you can save him. I want no part of it." | ||
CF | | ||
CF | "Come on, Jen, it's just a game," Tiff mumbles, still typing at her | ||
CF | phone. | ||
CF | | ||
CF | 1) You could agree with Tiff, | ||
CF | 2) insist that it's not a game, or | ||
CF | 3) defend your sister. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | "No, it's not, Tiff," you say. "I believe Claire. This is happening." | ||
CF | | ||
CF | Tiff and Jen both stare at you in disbelief for a moment. | ||
CF | | ||
CF | "Tell me you're joking," Jen says, before registering your unchanging | ||
CF | expression. "You know what?" She says finally. "I'm gonna call my mom. | ||
CF | I think I'm going home." | ||
CF | | ||
CF | 1) You could backtrack, or | ||
CF | 2) you could double down. | ||
CF | | ||
CF | > | Perry says, "Hmm. Maybe not. There wasn't an option to agree with Jen again." | |
Perry says (to ClubFloyd), "2" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | "You're really going to abandon us, in the middle of this experience?" | ||
CF | you demand. "This isn't a game! It's real and it's | ||
CF | dangerous." | ||
CF | | ||
CF | Jen stares at you, anger and hurt and betrayal warring on her face, | ||
CF | then she abruptly stands and stalks out of the room. | ||
CF | | ||
CF | "That was messed up," Tiff mutters. | ||
CF | | ||
CF | 1) You could snap at her, or | ||
CF | 2) you could apologize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | "Don't you start, too," you snap. "Look, let's just finish this, | ||
CF | alright?" | ||
CF | | ||
CF | After a long moment, Tiff says "sure, whatever." She puts her phone | ||
CF | down, abandoning whatever she was searching for, and you both turn | ||
CF | back to Claire. | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's back to the east. Also, | ||
CF | that red door leads south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "undo" | ||
CF ] Uncanny Living Room | ||
CF | | ||
CF | > UNDO | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | [Previous turn undone.] | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "2" | ||
CF ] Uncanny Living Room | ||
CF | > | ||
CF | > 2 | ||
CF | | ||
CF | "Listen, I'm sorry about that," you say. "Can we just- can we keep | ||
CF | going?" | ||
CF | | ||
CF | After a long moment, Tiff says "yeah, sure." She puts her phone down, | ||
CF | abandoning whatever she was searching for, and you both turn back to | ||
CF | Claire. | ||
CF | | ||
CF | Uncanny Living Room | ||
CF | This is our living room, but something's off about it. I can't put my | ||
CF | finger on what. It's like it normally is, with the pillows and blanket | ||
CF | on the couch and the TV switched off. The exit's where it normally is, | ||
CF | but right now I can somehow tell it's back to the east. Also, | ||
CF | that red door leads south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e. e. d. x man" | ||
CF ] Basement | ||
CF | > | ||
CF | > E. E. D. X MAN | ||
CF | | ||
CF | | ||
CF | Foyer | ||
CF | This is our foyer. Kind of. It's a little more sparse than the real | ||
CF | thing. There's just a coat rack and a welcome mat. | ||
CF | | ||
CF | The living room's back west, and the kitchen's across the hall | ||
CF | to the east. The front door's to the north, and the | ||
CF | stairs go up to the second floor. | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's back to the west, and some stairs lead down | ||
CF | to the basement. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | (the suited man) | ||
CF | He's tall, or at least I think he is—he's sitting down. He does look | ||
CF | like us, I guess. He's wearing a suit. | ||
CF | | ||
CF | He's currently tied to a rickety chair by a length of rope. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Basement | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | I don't think I can go that way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x wall" | ||
CF ] Basement | ||
CF | > | ||
CF | > X WALL | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u. enter fridge. s. w. n" | ||
CF ] Lobby | ||
CF | > | ||
CF | > U. ENTER FRIDGE. S. W. N | ||
CF | | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer is to the west, and a set of stairs leads back | ||
CF | down to the basement. | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Street, at the far end from the subway platform | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street runs back to the | ||
CF | east. | ||
CF | | ||
CF | Lobby | ||
CF | It's the lobby of an office building, but cleared of all furniture. | ||
CF | There's an elevator in one wall, and a stairwell leading up. I | ||
CF | can also go back out through the revolving door to the south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "u" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > U | ||
CF | | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to intern" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > TALK TO INTERN | ||
CF | | ||
CF | "Hey, uh," (Claire says.) | ||
CF | | ||
CF | "What?" (She responds in the intern's nasal tenor.) | ||
CF | | ||
CF | 1) You could ask him to tell you where to look again. | ||
CF | 2) You could ask him how his day is. | ||
CF | 3) You could ask him what the meeting's about. | ||
CF | 4) You could also end the conversation. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "4" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > 4 | ||
CF | | ||
CF | (You tell Claire to end the conversation.) | ||
CF | | ||
CF | "Alright, that's all I got. See you later," (Claire says.) | ||
CF | | ||
CF | "Don't come back without your father!" (The lower voice says, not | ||
CF | quite sing-song enough to come off as a joke.) | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. The intern is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d. s. e. n. n. d. untie man" | ||
CF ] Basement | ||
CF | > | ||
CF | > D. S. E. N. N. D. UNTIE MAN | ||
CF | | ||
CF | | ||
CF | Lobby | ||
CF | It's the lobby of an office building, but cleared of all furniture. | ||
CF | There's an elevator in one wall, and a stairwell leading back | ||
CF | up. I can also go out through the revolving door to the | ||
CF | south. | ||
CF | | ||
CF | Street, at the far end from the subway platform | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street runs back to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | Dining Room | ||
CF | It's the main room of a restaurant. There are a bunch of tables | ||
CF | scattered around. I can go back out to the street to the south. | ||
CF | There are also a pair of swinging doors to the north. | ||
CF | | ||
CF | Kitchen | ||
CF | It's our kitchen. The sink, stove, fridge, cabinets, and counters are | ||
CF | all pretty much where they really are. No dishwasher, though. | ||
CF | | ||
CF | The foyer's to the west, and stairs lead down to the | ||
CF | basement. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. Dad's here, too, tied to a chair. | ||
CF | | ||
CF | I can go back up to the kitchen. | ||
CF | | ||
CF | (I'm assuming you mean from the rope) | ||
CF | | ||
CF | Okay, I'm untying him. Oh, uh. As soon as I unknotted the rope, it | ||
CF | kind of just... dissolved. | ||
CF | | ||
CF | "Thank you, dear," (the lower voice says.) "Now come with me. | ||
CF | I know a way out." | ||
CF | | ||
CF | 1) You could tell him to lead the way. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "1" | ||
CF ] Basement | ||
CF | > | ||
CF | > 1 | ||
CF | | ||
CF | ("Lead the way," you say.) | ||
CF | | ||
CF | "Lead the way," (Claire parrots.) | ||
CF | | ||
CF | "It's just through here," (the lower voice replies.) | ||
CF | | ||
CF | Uh, he just walked into a tunnel in the east wall. I'm pretty | ||
CF | sure that wasn't there before. | ||
CF | | ||
CF | Basement | ||
CF | This is the basement, all dusty and dark. It's mostly empty—just a | ||
CF | few | ||
CF | wire racks lining the walls. The chair that dad was tied to is sitting | ||
CF | in the center of the room. | ||
CF | | ||
CF | I can go back up to the kitchen, or I can follow Dad | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] tunnel | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | tunnel | ||
CF | Dozens of corpses line the floor. I don't want to spend too long here. | ||
CF | I can go out to the subway tracks, or west to the | ||
CF | basement. | ||
CF | | ||
CF | Dad's here. | ||
CF | | ||
CF | "It's just here, through this door," (the lower voice says.) | ||
CF | | ||
CF | He's pointing to an ancient door set into the south wall. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x door" | ||
CF ] tunnel | ||
CF | > | ||
CF | > X DOOR | ||
CF | | ||
CF | It looks like it's been here since before time began. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x corpses" | ||
CF ] tunnel | ||
CF | > | ||
CF | > X CORPSES | ||
CF | | ||
CF | Oh, my God. The whole floor is lined with them. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e. u. u." | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > E. U. U. | ||
CF | | ||
CF | | ||
CF | Tracks | ||
CF | Okay, I'm standing on the subway tracks. There are rails on the ground | ||
CF | for the trains to run on. | ||
CF | | ||
CF | I can hop up onto the platform, or go into the tunnel to the | ||
CF | west. | ||
CF | | ||
CF | Subway Platform | ||
CF | It's the subway platform, but deserted. There's a bench, some ad | ||
CF | panels, and a map lining one wall. There's a schedule hanging from the | ||
CF | ceiling. | ||
CF | | ||
CF | The tracks are down. Turnstiles stand in front of the stairs | ||
CF | up to the street. I can also go north to the glen | ||
CF | through the yellow door. | ||
CF | | ||
CF | Okay, I swiped the card and the turnstiles have opened. | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | back down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w. n. u." | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > W. N. U. | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street runs back to the | ||
CF | east. | ||
CF | | ||
CF | Lobby | ||
CF | It's the lobby of an office building, but cleared of all furniture. | ||
CF | There's an elevator in one wall, and a stairwell leading up. I | ||
CF | can also go back out through the revolving door to the south. | ||
CF | | ||
CF | Waiting Room | ||
CF | So, this is a waiting room. A mannequin is sitting behind a big desk, | ||
CF | and there's a pair of fancy doors leading north into a meeting | ||
CF | room. There's one staircase leading down, and another leading | ||
CF | up. | ||
CF | | ||
CF | I can see an intern mannequin here. | ||
CF | | ||
CF | > | Perry says, "Wot" | |
Perry says (to ClubFloyd), "x doors" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > X DOORS | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x door" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > X DOOR | ||
CF | | ||
CF | I can't tell what you want me to do that with. The noun didn't make | ||
CF | sense in this context. | ||
CF | | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "talk to intern" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > TALK TO INTERN | ||
CF | | ||
CF | I feel like that's the kind of thing you can only do to a person. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x intern" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > X INTERN | ||
CF | | ||
CF | It's sitting behind the desk, where the intern was sitting before. It | ||
CF | doesn't look anything like him, or like anyone, I guess. | ||
CF | | ||
CF | > | Perry says, "Well that's creepy" | |
Perry says (to ClubFloyd), "n" | ||
CF ] Waiting Room | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | (first opening the fancy doors) | ||
CF | I don't really think I'm interested in going anywhere near all those | ||
CF | mannequins in the meeting room. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "d" | ||
CF ] Lobby | ||
CF | > | ||
CF | > D | ||
CF | | ||
CF | | ||
CF | Lobby | ||
CF | It's the lobby of an office building, but cleared of all furniture. | ||
CF | There's an elevator in one wall, and a stairwell leading back | ||
CF | up. I can also go out through the revolving door to the | ||
CF | south. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x minivan" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > X MINIVAN | ||
CF | | ||
CF | The hood is crumpled and the windshield is shattered. It's a wreck. | ||
CF | | ||
CF | There's a corpse inside. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | (first opening the sturdy door) | ||
CF | It's already creaking trying to hold back however much water. I don't | ||
CF | think opening it would be a good idea. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] hollow skeleton | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | hollow skeleton | ||
CF | This is the half-finished skeleton of a building, like they got the | ||
CF | frame up and called it good. A lattice of metal struts stretching from | ||
CF | the bare dirt up to the sky. The wind is whistling through them. I can | ||
CF | go back to the street to the east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Street, at the far end from the subway platform | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Street, at the far end from the subway platform | ||
CF | This is the west end of the city street. | ||
CF | | ||
CF | There's been a car accident here. | ||
CF | | ||
CF | There are buildings on three sides: one with a revolving door to the | ||
CF | north, one with a sturdy door to the south, and one | ||
CF | without a door to the west. The street continues to the | ||
CF | east. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street runs back to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "e" | ||
CF ] Empty Space | ||
CF | > | ||
CF | > E | ||
CF | | ||
CF | | ||
CF | Empty Space | ||
CF | There's nothing in here. Huge room, high ceiling. Wood paneled walls, | ||
CF | green carpeted floor. I can go back out to the street to the | ||
CF | west. | ||
CF | | ||
CF | That clock is in the corner. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Street, by the subway entrance | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Street, by the subway entrance | ||
CF | This is the east end of the city street. There are buildings to three | ||
CF | sides: one with some heavy doors to the north, one with an | ||
CF | unassuming door to the east, and one with an ornate door to the | ||
CF | south. The street continues to the west, and I can go | ||
CF | down to the subway platform. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > S | ||
CF | | ||
CF | | ||
CF | Field, north side | ||
CF | This is the north end of the field. I can go south, | ||
CF | southeast, or southwest to other parts of the field. | ||
CF | There's also an ornate door back to the north. That big tower's | ||
CF | to the south. | ||
CF | | ||
CF | There's an absolutely massive fly here. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "hug fly" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > HUG FLY | ||
CF | | ||
CF | Gross! Stop it! | ||
CF | | ||
CF | (Kiki meanders into the room.) | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "swaa" | ||
CF ] Field, north side | ||
CF | > | ||
CF | > SWAA | ||
CF | | ||
CF | I can't tell what you want me to do. That's not a verb I recognize. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "sw" | ||
CF ] Field, west side | ||
CF | > | ||
CF | > SW | ||
CF | | ||
CF | | ||
CF | Field, west side | ||
CF | This is the west end of the field. I can go east, | ||
CF | northeast, or southeast to other parts of the field, | ||
CF | west to the edge of the trees, or northwest to the | ||
CF | beach. That horsefly's hovering around to the northeast. That big | ||
CF | tower's to the east. | ||
CF | | ||
CF | Oh hey, the horsefly just showed up from the northeast. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "w" | ||
CF ] Edge of the Trees | ||
CF | > | ||
CF | > W | ||
CF | | ||
CF | | ||
CF | Edge of the Trees | ||
CF | The mist and the trees both begin here. There are some transmission | ||
CF | towers dotted around. | ||
CF | | ||
CF | I can go west to the misty path, north to the beach, or | ||
CF | back east to the western end of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "n" | ||
CF ] Beach | ||
CF | > | ||
CF | > N | ||
CF | | ||
CF | | ||
CF | Beach | ||
CF | I'm standing on a beach. I can see a few boats out on the water. | ||
CF | | ||
CF | There's a pile of radios, about chest-high. | ||
CF | | ||
CF | I can go back south to the edge of the trees, or | ||
CF | southeast to the west section of the field. | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "x water" | ||
CF ] Beach | ||
CF | > | ||
CF | > X WATER | ||
CF | | ||
CF | Steely gray. | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Sick earth." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "i" | ||
CF ] Beach | ||
CF | > | ||
CF | > I | ||
CF | | ||
CF | Here's what I'm carrying: | ||
CF | a housekey | ||
CF | some rubber gloves (being worn) | ||
CF | an uncanny pillow | ||
CF | an uncanny blanket | ||
CF | a metro card | ||
CF | some bolt cutters | ||
CF | a charred scrap of paper | ||
CF | a plastic bag | ||
CF | a camera (providing light) | ||
CF | my flannel PJs (being worn) | ||
CF | | ||
CF | (Claire mutters under her breath, almost too quietly for you to | ||
CF | hear:) "Whispers in the dark." | ||
CF | | ||
CF | > | ||
Perry says (to ClubFloyd), "s" | ||
CF ] Edge of the Tr |