  
ClubFloyd Transcript:
The idea behind ClubFloyd is that each
week at a pre-arranged time, a group of
people meet online to cooperatively play
a game of interactive fiction.
|
|
ClubFloyd Transcript:
The idea behind ClubFloyd is that each
week at a pre-arranged time, a group of
people meet online to cooperatively play
a game of interactive fiction.
|
|
ToyShop & Floyditorium
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#ClubFloyd Discussion
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| DavidW says (to ClubFloyd), "load sleepmask gestures" | ||
| CF ] Gallery Room | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | "I like unmade beds, but I like them unmade by love. Now, how | ||
| CF | would you put that in French?" —Francis Bacon | ||
| CF | | ||
| CF | "Now I don't know, but I been told, and that's true of everything | ||
| CF | I think I know." —Ghost Quartet | ||
| CF | | ||
| CF | Gestures Towards Divinity | ||
| CF | A Meditation by Charm Cochran | ||
| CF | Release 1 / Serial number 230928 / Inform 7 v10.1.2 | ||
| CF | (First-time players should type 'about'. Credits & | ||
| CF | acknowledgements are available via 'credits'.) | ||
| CF | | ||
| CF | Gallery Room | ||
| CF | You are in a room with white walls and a polished vinyl floor. | ||
| CF | Incandescent lights softly illuminate the space. | ||
| CF | | ||
| CF | To the south is a plain gray door labeled "Guard's Office." It stands | ||
| CF | closed. Another doorway (sans a door) leads to the east. | ||
| CF | | ||
| CF | A triptych of paintings dominates one wall, adding a splash of orange | ||
| CF | interest to the otherwise white room. To its right is an informational | ||
| CF | placard. | ||
| CF | | ||
| CF | An oversized decal of bright orange text takes up another of the | ||
| CF | walls. | ||
| CF | | ||
| CF | A potted plant sits in the corner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "about" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > ABOUT | ||
| CF | | ||
| CF | Some useful things to know: | ||
| CF | | ||
| CF | You will find the majority of your time is spent in conversation. To | ||
| CF | begin a conversation with someone, you can simply type 'HELLO'. | ||
| CF | Similarly, type 'GOODBYE' (or just 'BYE') to end the conversation. | ||
| CF | Alternatively, leaving the room will end a conversations | ||
| CF | automatically, if a bit rudely. | ||
| CF | | ||
| CF | This story uses an ask/tell conversation system, and those commands | ||
| CF | can be abbreviated to 'A' and 'T', respectively. I.e., you could type | ||
| CF | 'A FRANCIS ABOUT ART'—or, since you'll only be talking with one | ||
| CF | person | ||
| CF | at a time, just 'A ART' will do. | ||
| CF | | ||
| CF | When you begin a conversation, you will be given a list of possible | ||
| CF | topics to ASK or TELL about. These options will change as conversation | ||
| CF | progresses. You'll want to type 'TOPICS' periodically during | ||
| CF | conversation to see the list of what's currently available to discuss. | ||
| CF | At certain points, you may also find it useful to say 'YES', 'NO', or | ||
| CF | 'SORRY'. | ||
| CF | | ||
| CF | There are some non-standard commands used in this story, but you will | ||
| CF | be cued to many of them at the appropriate moments (pay attention to | ||
| CF | any words in ALL CAPS). A full list of non-standard commands can be | ||
| CF | found by typing COMMANDS (but it may contain spoilers). | ||
| CF | | ||
| CF | You can progress by talking with others, interacting with objects in | ||
| CF | the environment, and sometimes through combinations of the two. | ||
| CF | | ||
| CF | This game has one ending. But an ending is just a moment—we ought to | ||
| CF | concern ourselves more with the journey it takes to get there, don't | ||
| CF | you think? | ||
| CF | | ||
| CF | This game also has achievements. It is possible to obtain all of them | ||
| CF | on a single playthrough. | ||
| CF | | ||
| CF | CONTENT WARNING: This story contains strong language and discussions | ||
| CF | of alcoholism (brief), drug use (brief), abuse (moderate), sexuality | ||
| CF | (moderate), death (extensive), and suicide (extensive). It is intended | ||
| CF | for mature audiences. | ||
| CF | | ||
| CF | DISCLAIMER: This story is a work of fiction. Francis Bacon, Peter | ||
| CF | Lacy, and George Dyer were real people. The likeness of these | ||
| CF | historical/famous figures have been used fictitiously; the author does | ||
| CF | not speak for or represent them. All opinions expressed in this story | ||
| CF | are the author's, or fictional. | ||
| CF | | ||
| CF | > | DavidW asks, "everyone get all that?" | |
| Roger exclaims, "yep!" | ||
| DavidW says (to ClubFloyd), "x me" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X ME | ||
| CF | | ||
| CF | Looking down, you find that you're wearing a linen robe. | ||
| CF | | ||
| CF | > | Jade says, "ok" | |
| DavidW says (to ClubFloyd), "x robe" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X ROBE | ||
| CF | | ||
| CF | It's soft and white. You don't think you've ever seen it before today. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > I | ||
| CF | | ||
| CF | You're wearing a linen robe. You have nothing else on you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x orange text" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X ORANGE TEXT | ||
| CF | | ||
| CF | The orange letters are a neat sans-serif, nearly a foot tall each. The | ||
| CF | text runs the entire length of the wall. The heading at the top nearly | ||
| CF | touches the ceiling, while the final line of text nears the floor. | ||
| CF | They read: | ||
| CF | | ||
| CF | FRANCIS BACON: PAINTING THE TOWN RED | ||
| CF | | ||
| CF | Francis Bacon (1909-1992) was a British painter, infamous | ||
| CF | for his use of brutal imagery and distortions of the human face and | ||
| CF | body. Well-known for both his violent subject matter and cutting wit, | ||
| CF | he is commonly considered one of the most important artists of the | ||
| CF | Twentieth Century. | ||
| CF | | ||
| CF | As Bacon himself was quick to remark, his life was deeply | ||
| CF | touched by tragedy. The repeating echoes and odd coincidences are hard | ||
| CF | to miss: the abuses of his father presaging those of his first | ||
| CF | patrons; his obsession with artistic violence slowly leaching into his | ||
| CF | actual personal life; and of course, the fate of his friend Peter | ||
| CF | Lacy, foreshadowing that of his closest companion and muse, George | ||
| CF | Dyer. | ||
| CF | | ||
| CF | Many of these events, though, have only ever been publicly | ||
| CF | recounted by Bacon himself. With his enigmatic attitude and sense of | ||
| CF | grandeur, it can be hard to tell what of his story is truth and what | ||
| CF | has been twisted—and the man himself was no help, often contradicting | ||
| CF | himself or brazenly lying in interviews. We are left then to wonder, | ||
| CF | to question, and to seek truth through a look into Bacon's mind in the | ||
| CF | one place where it seems inescapable: his body of work. | ||
| CF | | ||
| CF | > | DavidW says, "oh, I think I'm starting to remember this game now." | |
| DavidW says, "It's one where we can enter some of the paintings." | ||
| DavidW says, "We're in a museum." | ||
| DavidW says (to ClubFloyd), "x paintings" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X PAINTINGS | ||
| CF | | ||
| CF | You can't use multiple objects with that verb. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x placard" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X PLACARD | ||
| CF | | ||
| CF | ** Three Studies for Figures at the Base of a Crucifixion | ||
| CF | Oil and pastel on fiberboard | 1944 | ||
| CF | | ||
| CF | Considered by Bacon himself to be his first mature piece, Three | ||
| CF | Studies for Figures at the Base of a Crucifixion depicts three | ||
| CF | Euminedes. More commonly known as Furies, these ancient Greek | ||
| CF | goddesses were responsible for punishing human wrongs. | ||
| CF | | ||
| CF | The triptych was first shown in April 1945, the final months of World | ||
| CF | War II in Europe, as footage from Nazi Germany's concentration camps | ||
| CF | was first being released to the public. Critics and the public both | ||
| CF | were initially shocked and disturbed by the work, though it quickly | ||
| CF | helped cement Bacon's status as one of the major postwar painters. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x first painting" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X FIRST PAINTING | ||
| CF | | ||
| CF | The figure has a vaguely human torso, its mottled white-gray skin | ||
| CF | mostly obscured by a light orange toga. It has no limbs save for a | ||
| CF | strangely enlongated neck, which juts downward from its hunched, | ||
| CF | rounded shoulders towards its bowed head. The head itself has no | ||
| CF | facial features to speak of—only the mop of dark hair atop it | ||
| CF | confirms | ||
| CF | it's a head at all. | ||
| CF | | ||
| CF | The figure is sat on a table, with a flat top, thin legs, and pink | ||
| CF | piece of fabric that might be a tablecloth (or just more of the | ||
| CF | figure's toga) draped haphazardly over it. The background is primarily | ||
| CF | an abstract orange, though it's textured with splotches of greenish | ||
| CF | brown. Some scattered diagonal lines in the background create the idea | ||
| CF | of dimension, though they alone are not nearly enough to orient you in | ||
| CF | any kind of space. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x second painting" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X SECOND PAINTING | ||
| CF | | ||
| CF | This figure faces you directly, although you are spared from feeling | ||
| CF | watched by it: either it has no eyes, or they're covered by the | ||
| CF | drooping bandage around its neck. Its skin is gray and mottled. It | ||
| CF | seems to have no distinct head; instead its mouth, blunt teeth bared | ||
| CF | in a menacing snarl, is placed directly on the end of its long neck. | ||
| CF | It has no other limbs—its ovoid torso hovers over what appears to be | ||
| CF | a | ||
| CF | wooden pedestal. | ||
| CF | | ||
| CF | The pedestal itself makes little geometrical sense—truly, it ought | ||
| CF | not | ||
| CF | to be standing. It might be made of wood; it might cast a shadow; it | ||
| CF | might have spikes protruding from it. Each of these details is | ||
| CF | rendered possible but uncertain by the abstract style. | ||
| CF | | ||
| CF | The background is mostly bright orange, though splotches and lines of | ||
| CF | brown create a sense of fervor, of motion. Three splotches in | ||
| CF | particular below the gray figure suggest a patch of flowers, though | ||
| CF | four lines around the pedestal moreso indicate a geometric indoor | ||
| CF | space. | ||
| CF | | ||
| CF | Something about this panel draws you to LOOK CLOSER... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look closer" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > LOOK CLOSER | ||
| CF | | ||
| CF | (Crucifixion Panel 2) | ||
| CF | Golgotha | ||
| CF | You find yourself somewhere entirely unfamiliar. | ||
| CF | | ||
| CF | There's no sense of space or time here, just a writhing orangeness | ||
| CF | stretching out into the distance. There's a sense of sadness, of | ||
| CF | terror. | ||
| CF | | ||
| CF | Nearby sits a wooden pedestal that, according to the known laws of | ||
| CF | physics, ought not to be upright. Perched atop it is a creature with | ||
| CF | mottled gray skin, with no limbs except an enlongated neck, and no | ||
| CF | facial features save a mouth filled with sharp teeth. From somwhere in | ||
| CF | the back of your mind, the title 'Fury' surfaces. | ||
| CF | | ||
| CF | Nearby, a set of vague brown horseshoe shapes give the impression of a | ||
| CF | patch of flowers. | ||
| CF | | ||
| CF | You can return to the gallery by typing RETURN. | ||
| CF | | ||
| CF | [Achievement unlocked: We Need To Go Deeper] | ||
| CF | | ||
| CF | (Command ACHIEVEMENTS to see a list of your achievements.) | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x fury" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > X FURY | ||
| CF | | ||
| CF | This is the creature from the painting: same mottled gray skin, same | ||
| CF | drooping bandage draped over its neck. It has no distinct head; | ||
| CF | instead its mouth, full of gnashing teeth, is placed directly on the | ||
| CF | end of its long neck. It has no other limbs, though lumps along the | ||
| CF | side of the torso suggest malformed wings. It hovers above the | ||
| CF | pedestal, through no mechanism you can determine. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x flowers" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > X FLOWERS | ||
| CF | | ||
| CF | You don't know how you know they're flowers—nor do you know what | ||
| CF | species of flower they are. But you're certain that these vague brown | ||
| CF | splotches are in fact flowers, growing in a patch out of the ground. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hello" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > HELLO | ||
| CF | | ||
| CF | (addressing The Fury) | ||
| CF | "Welcome," the Fury says. | ||
| CF | | ||
| CF | (You could ask it about itself, Francis Bacon, the impression of a | ||
| CF | patch of flowers, George Dyer, Peter Lacy, who it hopes to be, its | ||
| CF | life, or where you are.) | ||
| CF | | ||
| CF | > | DavidW asks, "How are we feeling about this?" | |
| Roger says, "this sort of game is not my sort of thing" | ||
| Roger says, "but it seems competently-constructed" | ||
| DavidW says, "We can switch to another game. Especially if you can name another game to play." | ||
| Roger says, "I cannot! And also I gotta wash dishes and such." | ||
| Jade says, "This is surreal as expected. No game by now, only examining around" | ||
| Roger says, "the conversation system might be good" | ||
| DavidW says (to ClubFloyd), "a itself" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > A ITSELF | ||
| CF | | ||
| CF | "I am a Fury, unaccustomed to grieving. And yet here I am, mourning a | ||
| CF | man I have never seen. Is he up there? Can you tell?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a bacon" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > A BACON | ||
| CF | | ||
| CF | "Ah, the creator. The great artiste. Yes, I'm familiar. Troubled man, | ||
| CF | tortured soul. Those always taste the best." Its jaw spasms for a | ||
| CF | moment, causing its oversized teeth to chatter. "Obsessed with | ||
| CF | violence, that one. He himself isn't a violent man, or doesn't | ||
| CF | consider himself one, but he does love to experience it." | ||
| CF | | ||
| CF | "He painted me to be... inhuman. Usually, I am humanoid, at least. But | ||
| CF | the creator is not a man interested in the humanity of others, no. He | ||
| CF | wants barbarism. He wants violence. I just wish he hadn't made me into | ||
| CF | a monster in his search." | ||
| CF | | ||
| CF | > | Jade says, "The conversation system remembers me to Counterfeit Monkey" | |
| DavidW says (to ClubFloyd), "version" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > VERSION | ||
| CF | | ||
| CF | "I like unmade beds, but I like them unmade by love. Now, how | ||
| CF | would you put that in French?" —Francis Bacon | ||
| CF | | ||
| CF | "Now I don't know, but I been told, and that's true of everything | ||
| CF | I think I know." —Ghost Quartet | ||
| CF | | ||
| CF | Gestures Towards Divinity | ||
| CF | A Meditation by Charm Cochran | ||
| CF | Release 1 / Serial number 230928 / Inform 7 v10.1.2 | ||
| CF | (First-time players should type 'about'. Credits & | ||
| CF | acknowledgements are available via 'credits'.) | ||
| CF | Inform 7 v10.1.2 | ||
| CF | Identification number: //96AAB1E6-21BB-42D0-9FA8-16FF8BCA21EE// | ||
| CF | Interpreter version 1.3.1 / VM 3.1.2 | ||
| CF | Alternatives version 3.0.150410 by Eric Eve | ||
| CF | Conversation Responses version 7 by Eric Eve | ||
| CF | Conversational Defaults version 3 by Eric Eve | ||
| CF | Conversation Nodes version 7 by Eric Eve | ||
| CF | Epistemology version 9 by Eric Eve | ||
| CF | Conversation Framework version 12 by Eric Eve | ||
| CF | Conversation Suggestions version 6 by Eric Eve | ||
| CF | Conversation Package version 3 by Eric Eve | ||
| CF | Bulk Limiter version 9 by Eric Eve | ||
| CF | Underside version 6.1 by Eric Eve | ||
| CF | Hiding Under version 4 by Eric Eve | ||
| CF | Far Away version 5.0.160517 by Jon Ingold | ||
| CF | Achievements version 1.0.151231 by Juhana Leinonen | ||
| CF | | ||
| CF | > | DavidW says, "Looks like Eric Eve's conversation extensions." | |
| Jade exclaims, "uf, so much!" | ||
| DavidW says (to ClubFloyd), "topics" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > TOPICS | ||
| CF | | ||
| CF | You could ask it about the impression of a patch of flowers, George | ||
| CF | Dyer, Peter Lacy, who it hopes to be, its life, where you are, what | ||
| CF | Furies are, mourning, the Crucifixion, Bacon's art, Bacon's life, | ||
| CF | violence, or its relationship with Bacon. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a what Furies are" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > A WHAT FURIES ARE | ||
| CF | | ||
| CF | "We the Erinyes are goddesses of vengeance against those who swear | ||
| CF | false oaths, who are subjected to curses, who are evil. We are more | ||
| CF | ancient than the gods, greater than the stars, more inevitable than | ||
| CF | death itself. We hear complaints of insolence, and hound the culprits | ||
| CF | day and night." The Fury's teeth clack together. "Historically, we are | ||
| CF | women. But, well, I am not, at the moment." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a where you are" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > A WHERE YOU ARE | ||
| CF | | ||
| CF | "Why, it's in the title, is it not?" it queries. "We are at the base | ||
| CF | of the crucifixion of Jesus Christ, in first century Judaea. I cannot | ||
| CF | see the crucifixion myself, but I can feel the suffering and the | ||
| CF | sorrow and the rapture. Can't you?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a crucifixion" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > A CRUCIFIXION | ||
| CF | | ||
| CF | (the Crucifixion) | ||
| CF | "A poor, poor man to be sure. One to be pitied. But his suffering is | ||
| CF | quite delicious." The Fury bares its teeth in a parody of a boyish | ||
| CF | grin. "To be so willing to put oneself through such violence for the | ||
| CF | benefit of others, or even for the benefit of the self... a soul like | ||
| CF | that is rare." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "achievements" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > ACHIEVEMENTS | ||
| CF | | ||
| CF | You have unlocked the following achievement: | ||
| CF | | ||
| CF | We Need To Go Deeper: You found your way somewhere else. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "score" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > SCORE | ||
| CF | | ||
| CF | There is no score in this story. | ||
| CF | | ||
| CF | > | DavidW says, "I suppose we're just exploring for its own sake." | |
| DavidW says (to ClubFloyd), "a topics" | ||
| CF ] Golgotha | ||
| CF | > | ||
| CF | > A TOPICS | ||
| CF | | ||
| CF | The Fury doesn't seem to have an answer to that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "return" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > RETURN | ||
| CF | | ||
| CF | The Fury lowers its neck. | ||
| CF | | ||
| CF | Gallery Room | ||
| CF | You are in a room with white walls and a polished vinyl floor. | ||
| CF | Incandescent lights softly illuminate the space. | ||
| CF | | ||
| CF | To the south is a plain gray door labeled "Guard's Office." It stands | ||
| CF | closed. Another doorway (sans a door) leads to the east. | ||
| CF | | ||
| CF | A triptych of paintings dominates one wall, adding a splash of orange | ||
| CF | interest to the otherwise white room. To its right is an informational | ||
| CF | placard. | ||
| CF | | ||
| CF | An oversized decal of bright orange text takes up another of the | ||
| CF | walls. | ||
| CF | | ||
| CF | A potted plant sits in the corner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x plant" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X PLANT | ||
| CF | | ||
| CF | It's a single hyacinth flower, planted in dry dirt in a square white | ||
| CF | concrete pot. Its purple bulb is in full and vibrant bloom. It looks | ||
| CF | as if it could use some water. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x third painting" | ||
| CF ] Gallery Room | ||
| CF | > | ||
| CF | > X THIRD PAINTING | ||
| CF | | ||
| CF | This third figure is not remotely humanoid. Like the others, it has a | ||
| CF | tubular neck, enlongated and smoothed. Like its neighbor, it has an | ||
| CF | incomplete set of facial features. One ear is visible, next to a mouth | ||
| CF | impossibly stretched open in a scream. It has only a top row of teeth | ||
| CF | and a tongue laid flat on the bottom, reaching all the way to the ends | ||
| CF | of its pronounced lower jaw. The neck connects to a torso with a | ||
| CF | single hump in place of shoulders, which tapers to something that | ||
| CF | might be a waist, hips, and single leg before being cut off by the | ||
| CF | edge of the canvas. | ||
| CF | | ||
| CF | At the front of the torso, just below the neck, is a second leg. It | ||
| CF | seems too thin to support the creature's bulk, especially as it tapers | ||
| CF | towards the end. It meets the ground in the middle of an irregular | ||
| CF | patch of yellow-gray grass, entirely isolated from any other | ||
| CF | indication of life in the sea of orange surrounding it. | ||
| CF | | ||
| CF | The orange itself is brighter in this panel than in the other two, | ||
| CF | with much less brown mixed in. The geometric lines in the background | ||
| CF | are most pronounced here, too, giving a clearer impression of | ||
| CF | dimension and space. Three lines in particular—one vertical, one | ||
| CF | horizontal, and one at about a 30° angle—mirror the relationship | ||
| CF | between its front leg, jaw, and neck, while simultaneously suggesting | ||
| CF | the sloped roof of a suburban house. | ||
| CF | | ||
| CF | > | Jade says, "water" | |
| DavidW says, "yeah, the plant needs water." | ||
| DavidW says, "If I remember correctly, there's a snack bar with a woman behind the counter to the east then south." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Another Gallery Room | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Another Gallery Room | ||
| CF | Similar to the other room, this one has white walls and a polished | ||
| CF | vinyl floor. | ||
| CF | | ||
| CF | To the south, the door out of the gallery stands closed. | ||
| CF | | ||
| CF | There is also a doorway to the west, leading to the left gallery room, | ||
| CF | and one to the east, leading to the right one. | ||
| CF | | ||
| CF | A second, larger triptych takes up one wall, accompanied by an | ||
| CF | informational placard. | ||
| CF | | ||
| CF | In the center of the room sits a low bench made of light wood planks. | ||
| CF | | ||
| CF | A security guard stands in one corner, leaning against the wall. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Yet Another Gallery Room | ||
| CF | As with the other rooms, this one is mostly blank. The one thing that | ||
| CF | sets it apart is that to the south, separated only by a waist-high | ||
| CF | dividing wall, is a small café. There's also a doorway leading back | ||
| CF | west to the middle gallery room. | ||
| CF | | ||
| CF | A third triptych, about the same size as the second and comprised | ||
| CF | mostly of darker tones, dominates the room. An informational placard | ||
| CF | hangs to its right. | ||
| CF | | ||
| CF | On another wall is what appears to be a black-and-white photograph, | ||
| CF | with its own placard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | That's not a way you can go. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Café | ||
| CF | Though separated from the gallery room by only a waist-high barrier, | ||
| CF | the café nevertheless manages to have an atmosphere entirely its own. | ||
| CF | Maybe it's due to the different lighting, or to the funky green walls. | ||
| CF | | ||
| CF | A recycling bin stands in the corner. | ||
| CF | | ||
| CF | Affixed to the wall above the counter is a blackboard, on which a menu | ||
| CF | is written in multi-colored chalk. | ||
| CF | | ||
| CF | A cute table and chair set stand in one corner, for the benefit of | ||
| CF | those with tired feet or messy food. | ||
| CF | | ||
| CF | An empty coffee cup lies, abandoned and forlorn, on the floor. | ||
| CF | | ||
| CF | Standing behind the counter is a bored-looking barista. She wipes down | ||
| CF | the already-spotless counter. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take cup" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > TAKE CUP | ||
| CF | | ||
| CF | (the abandoned cup) | ||
| CF | You take the abandoned cup. | ||
| CF | | ||
| CF | > | DavidW says, "Now if we can find water for the cup, we can water the plant." | |
| Jade says, "yes" | ||
| Roger says, "what is more classic than poisoning a bored security guard with adulterated coffee? nothing" | ||
| Jade says, "Talk to barista" | ||
| DavidW says (to ClubFloyd), "hello" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > HELLO | ||
| CF | | ||
| CF | (addressing the barista) | ||
| CF | She gives you a bored glance, but doesn't engage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x barista" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > X BARISTA | ||
| CF | | ||
| CF | The barista has her hair up in a messy bun. She's wearing a burgundy | ||
| CF | polo, blue apron, khakis, a name tag, and a small pride pin. She | ||
| CF | surreptitiously taps at her phone screen. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x pin" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > X PIN | ||
| CF | | ||
| CF | It's a small enamel pin with five horizontal stripes. The top and | ||
| CF | bottom stripes are light blue; the second and fourth are pink; and the | ||
| CF | middle one is white. | ||
| CF | | ||
| CF | > | DavidW asks, "I think that's the transgender one?" | |
| DavidW says (to ClubFloyd), "x menu" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > X MENU | ||
| CF | | ||
| CF | The menu is written in large, loopy letters. The chalk is pink and | ||
| CF | white, alternating with each line. It reads as follows: | ||
| CF | | ||
| CF | ~GALLERY CAFÉ MENU~ | ||
| CF | | ||
| CF | Energy Bar - - - $1.50 | ||
| CF | Hoagie - - - $4.00 | ||
| CF | Bottle of Water - - - $3.50 | ||
| CF | Cup of Coffee - - - $3.75 | ||
| CF | | ||
| CF | > | Jade says, "5 stripes, simetics" | |
| DavidW says (to ClubFloyd), "buy water" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > BUY WATER | ||
| CF | | ||
| CF | You can't afford the asking price of $3.50 for the bottle of water. | ||
| CF | | ||
| CF | > | Jade says, "Ok, we could take some water" | |
| DavidW says, "We might need to find money or a bathroom instead." | ||
| Jade says, "so we are indigents, moneyless" | ||
| DavidW says, "As usual, we must scrounge." | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Café | ||
| CF | Though separated from the gallery room by only a waist-high barrier, | ||
| CF | the café nevertheless manages to have an atmosphere entirely its own. | ||
| CF | Maybe it's due to the different lighting, or to the funky green walls. | ||
| CF | | ||
| CF | A recycling bin stands in the corner. | ||
| CF | | ||
| CF | Affixed to the wall above the counter is a blackboard, on which a menu | ||
| CF | is written in multi-colored chalk. | ||
| CF | | ||
| CF | A cute table and chair set stand in one corner, for the benefit of | ||
| CF | those with tired feet or messy food. | ||
| CF | | ||
| CF | Standing behind the counter is a bored-looking barista. She eyes you | ||
| CF | disinterestedly. | ||
| CF | | ||
| CF | > | Jade says, "x bin" | |
| DavidW says (to ClubFloyd), "x bin" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > X BIN | ||
| CF | | ||
| CF | It's big and minimalist gray, like much of the rest of the gallery. It | ||
| CF | has smooth sides and an open top with no lid or cover. `You would have | ||
| CF | mistaken it for a trash can if it weren't for the large three-arrow | ||
| CF | recycling logo on the front. | ||
| CF | | ||
| CF | > | DavidW says, "I bet we get a recycling achievement if we put the cup in the bin." | |
| Jade says, "maybe" | ||
| DavidW says (to ClubFloyd), "put cup in bin" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > PUT CUP IN BIN | ||
| CF | | ||
| CF | (the abandoned cup in the recycling bin) | ||
| CF | You put the abandoned cup into the recycling bin. | ||
| CF | | ||
| CF | The barista gives an audible sigh of relief. "Hey, thanks," she calls | ||
| CF | to you. "That had been bothering me all day, but I'm not allowed out | ||
| CF | from behind the counter when I'm on shift." | ||
| CF | | ||
| CF | [Achievement unlocked: Tree-Hugger] | ||
| CF | | ||
| CF | > | Jade says, "there are several things to examine" | |
| DavidW says (to ClubFloyd), "hello" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > HELLO | ||
| CF | | ||
| CF | (addressing the barista) | ||
| CF | "Welcome in," the barista says mechanically. | ||
| CF | | ||
| CF | (You could ask her about herself, how she is, Francis Bacon, life in | ||
| CF | general, death, the soul, the café, or where you are; or tell her | ||
| CF | about George Dyer, Peter Lacy, or The Fury.) | ||
| CF | | ||
| CF | > | Jade says, "well done" | |
| DavidW says (to ClubFloyd), "a how she is" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > A HOW SHE IS | ||
| CF | | ||
| CF | She immediately switches on her customer service voice. "I'm doing | ||
| CF | just great today. I woke up on the right side of the bed and I'm happy | ||
| CF | to be here today!" She then drops the voice and leans in | ||
| CF | conspiratorially. "That's a scripted line," she confides. "Lays it on | ||
| CF | kinda thick, if you ask me." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a life in general" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > A LIFE IN GENERAL | ||
| CF | | ||
| CF | "I mean, it's fine?" The barista shrugs. "Like, what are my thoughts | ||
| CF | on life in general? Like, the concept of 'life'? That's a | ||
| CF | pretty intense question for a Wednesday, babes. I'm living it. Don't | ||
| CF | need to put much thought into it—it kind of just keeps happening." | ||
| CF | | ||
| CF | > | Roger says, "I think we should apologize all the time to everyone, but of course I do" | |
| DavidW says (to ClubFloyd), "sorry" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > SORRY | ||
| CF | | ||
| CF | She doesn't deign to give you a response. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a cafe" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > A CAFE | ||
| CF | | ||
| CF | "This is my domain," the barista says, "at least for today. I may not | ||
| CF | get long-term ownership of the places I work, but I treat them as if I | ||
| CF | did. I like my space to be clean—thanks again—and orderly. I don't | ||
| CF | like unruly or entitled customers. And I'm all for parents bringing | ||
| CF | their kids to museums, but they better not bring them into my café." | ||
| CF | | ||
| CF | "Which is not to say that I'm a jacka- I mean, a jerk," she hastily | ||
| CF | clarifies. "'Cause I'm not. I'm just kinda particular and working a | ||
| CF | minimum-wage food service job, ya know?" | ||
| CF | | ||
| CF | > | Roger says, "cool girl here would totally let us take a water bottle on credit" | |
| DavidW says, "I'm not feeling very driven to continue. There's nothing wrong, but there's no goal, really, except explore." | ||
| Roger says, "yeah it's a bit too aimless for me" | ||
| DavidW says (to ClubFloyd), "yes" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > YES | ||
| CF | | ||
| CF | "See? You get it," the barista says. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "bye" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > BYE | ||
| CF | | ||
| CF | "Come again," the barista says automatically. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Right Gallery Room | ||
| CF | As with the other rooms, this one is mostly blank. The one thing that | ||
| CF | sets it apart is that to the south, separated only by a waist-high | ||
| CF | dividing wall, is a small café. There's also a doorway leading back | ||
| CF | west to the middle gallery room. | ||
| CF | | ||
| CF | A triptych, comprised mostly of darker tones, dominates the room. An | ||
| CF | informational placard hangs to its right. | ||
| CF | | ||
| CF | On another wall is what appears to be a black-and-white photograph, | ||
| CF | with its own placard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x photograph placard" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > X PHOTOGRAPH PLACARD | ||
| CF | | ||
| CF | This image is from the Odessa Steps massacre scene from Sergei | ||
| CF | Eisenstein's 1925 silent film Battleship Potemkin. In the | ||
| CF | scene, a detachment of dismounted Cossacks massacre a crowd of unarmed | ||
| CF | civillians, including women and children. The subject of this frame | ||
| CF | has just witnessed a soldier murdering an infant before being shot | ||
| CF | herself. | ||
| CF | | ||
| CF | The violence of this scene, both graphic and implied, is disturbing to | ||
| CF | this day. It would have been even more impactful when Bacon first saw | ||
| CF | the film in 1935. This shot in particular clearly had an effect on | ||
| CF | him, as he kept a framed print of it in his studio and included | ||
| CF | screaming mouths inspired by the frame in many of his subsequent | ||
| CF | works. | ||
| CF | | ||
| CF | > | DavidW says, "I'd quite forgotten that part." | |
| Roger says, "hmmm if I were writing a game to prove the point that some games are better with inherent image support, maybe it'd be this game. It's kind of a baffling design choice otherwise" | ||
| DavidW says, "Artists do tend to collect useful inspirational items that can be macabre." | ||
| DavidW says, "oh yes, some games scream for graphics." | ||
| Jade says, "yes, so many descriptions where a picture worths a thousand words" | ||
| DavidW asks, "We passed a guard on the way here. Should we talk to him?" | ||
| Jade says, "yes" | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Middle Gallery Room | ||
| CF | Similar to the other rooms, this one has white walls and a polished | ||
| CF | vinyl floor. | ||
| CF | | ||
| CF | To the south, the door out of the gallery stands closed. | ||
| CF | | ||
| CF | There is also a doorway to the west, leading to the left gallery room, | ||
| CF | and one to the east, leading to the right one. | ||
| CF | | ||
| CF | A triptych takes up one wall, accompanied by an informational placard. | ||
| CF | | ||
| CF | In the center of the room sits a low bench made of light wood planks. | ||
| CF | | ||
| CF | A security guard stands in one corner, seemingly dozing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x guard" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > X GUARD | ||
| CF | | ||
| CF | She's dressed in black slacks and a white button-down, with a walkie | ||
| CF | talkie on one hip. Her hair is pulled into a neat bun on the back of | ||
| CF | her head. She seems to be resting her eyes. | ||
| CF | | ||
| CF | > | DavidW says, "oh, her." | |
| DavidW says (to ClubFloyd), "hello" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > HELLO | ||
| CF | | ||
| CF | She nods curtly, but seems uninterested in conversation at the moment. | ||
| CF | Her stomach rumbles quietly. | ||
| CF | | ||
| CF | > | DavidW says, "aw, she wants a snack. Me too." | |
| DavidW says, "wonder if someone left a Clif bar on a bench." | ||
| DavidW says (to ClubFloyd), "x bench" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > X BENCH | ||
| CF | | ||
| CF | Though relatively spartan, it invites you to sit for a while, rest | ||
| CF | your weary feet, and enjoy the art. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under bench" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > LOOK UNDER BENCH | ||
| CF | | ||
| CF | A fiver lies forlornly on the floor under the bench. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take fiver" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > TAKE FIVER | ||
| CF | | ||
| CF | You take the fiver. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Right Gallery Room | ||
| CF | As with the other rooms, this one is mostly blank. The one thing that | ||
| CF | sets it apart is that to the south, separated only by a waist-high | ||
| CF | dividing wall, is a small café. There's also a doorway leading back | ||
| CF | west to the middle gallery room. | ||
| CF | | ||
| CF | A triptych, comprised mostly of darker tones, dominates the room. An | ||
| CF | informational placard hangs to its right. | ||
| CF | | ||
| CF | On another wall is what appears to be a black-and-white photograph, | ||
| CF | with its own placard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Café | ||
| CF | Though separated from the gallery room by only a waist-high barrier, | ||
| CF | the café nevertheless manages to have an atmosphere entirely its own. | ||
| CF | Maybe it's due to the different lighting, or to the funky green walls. | ||
| CF | | ||
| CF | A recycling bin stands in the corner. | ||
| CF | | ||
| CF | Affixed to the wall above the counter is a blackboard, on which a menu | ||
| CF | is written in multi-colored chalk. | ||
| CF | | ||
| CF | A cute table and chair set stand in one corner, for the benefit of | ||
| CF | those with tired feet or messy food. | ||
| CF | | ||
| CF | Standing behind the counter is a bored-looking barista. She nods to | ||
| CF | you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x menu" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > X MENU | ||
| CF | | ||
| CF | The menu is written in large, loopy letters. The chalk is pink and | ||
| CF | white, alternating with each line. It reads as follows: | ||
| CF | | ||
| CF | ~GALLERY CAFÉ MENU~ | ||
| CF | | ||
| CF | Energy Bar - - - $1.50 | ||
| CF | Hoagie - - - $4.00 | ||
| CF | Bottle of Water - - - $3.50 | ||
| CF | Cup of Coffee - - - $3.75 | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "buy energy bar" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > BUY ENERGY BAR | ||
| CF | | ||
| CF | You hand the barista a fiver. The barista makes change with two | ||
| CF | quarters and three dollar bills. "Here you are," says the barista, | ||
| CF | handing the energy bar to you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "thanks" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > THANKS | ||
| CF | | ||
| CF | "You're welcome," the barista replies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "bye" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > BYE | ||
| CF | | ||
| CF | You aren't talking to anyone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x bar" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > X BAR | ||
| CF | | ||
| CF | (the energy bar) | ||
| CF | It's not a brand you recognize, but the brightly-colored text on the | ||
| CF | cluttered wrapper promises fast, long-lasting energy and a full belly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Right Gallery Room | ||
| CF | As with the other rooms, this one is mostly blank. The one thing that | ||
| CF | sets it apart is that to the south, separated only by a waist-high | ||
| CF | dividing wall, is a small café. There's also a doorway leading back | ||
| CF | west to the middle gallery room. | ||
| CF | | ||
| CF | A triptych, comprised mostly of darker tones, dominates the room. An | ||
| CF | informational placard hangs to its right. | ||
| CF | | ||
| CF | On another wall is what appears to be a black-and-white photograph, | ||
| CF | with its own placard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Middle Gallery Room | ||
| CF | Similar to the other rooms, this one has white walls and a polished | ||
| CF | vinyl floor. | ||
| CF | | ||
| CF | To the south, the door out of the gallery stands closed. | ||
| CF | | ||
| CF | There is also a doorway to the west, leading to the left gallery room, | ||
| CF | and one to the east, leading to the right one. | ||
| CF | | ||
| CF | A triptych takes up one wall, accompanied by an informational placard. | ||
| CF | | ||
| CF | In the center of the room sits a low bench made of light wood planks. | ||
| CF | | ||
| CF | A security guard stands in one corner, looking bored. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "give bar" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > GIVE BAR | ||
| CF | | ||
| CF | (to the security guard) | ||
| CF | She looks up as you approach. | ||
| CF | | ||
| CF | "For real? Hey, thanks," she says. She unwraps the energy bar and, in | ||
| CF | record time, scarfs it down. | ||
| CF | | ||
| CF | She stifles a belch and crumples the energy bar wrapper. "Hey," she | ||
| CF | says. "I'm not allowed to leave this post until my replacement shows | ||
| CF | up. Could you do me a favor and take care of this?" She hands you the | ||
| CF | empty wrapper with an apologetic look. | ||
| CF | | ||
| CF | [Achievement unlocked: Friend to Workers] | ||
| CF | | ||
| CF | > | Jade says, "2nd one" | |
| Roger says, "ungrateful wretch" | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | Right Gallery Room | ||
| CF | As with the other rooms, this one is mostly blank. The one thing that | ||
| CF | sets it apart is that to the south, separated only by a waist-high | ||
| CF | dividing wall, is a small café. There's also a doorway leading back | ||
| CF | west to the middle gallery room. | ||
| CF | | ||
| CF | A triptych, comprised mostly of darker tones, dominates the room. An | ||
| CF | informational placard hangs to its right. | ||
| CF | | ||
| CF | On another wall is what appears to be a black-and-white photograph, | ||
| CF | with its own placard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | | ||
| CF | Café | ||
| CF | Though separated from the gallery room by only a waist-high barrier, | ||
| CF | the café nevertheless manages to have an atmosphere entirely its own. | ||
| CF | Maybe it's due to the different lighting, or to the funky green walls. | ||
| CF | | ||
| CF | A recycling bin stands in the corner. | ||
| CF | | ||
| CF | Affixed to the wall above the counter is a blackboard, on which a menu | ||
| CF | is written in multi-colored chalk. | ||
| CF | | ||
| CF | A cute table and chair set stand in one corner, for the benefit of | ||
| CF | those with tired feet or messy food. | ||
| CF | | ||
| CF | Standing behind the counter is a bored-looking barista. She nods to | ||
| CF | you. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put wrapper in bin" | ||
| CF ] Café | ||
| CF | > | ||
| CF | > PUT WRAPPER IN BIN | ||
| CF | | ||
| CF | You put the empty energy bar wrapper into the recycling bin. | ||
| CF | | ||
| CF | [Achievement unlocked: Leave No Trace] | ||
| CF | | ||
| CF | [Achievement unlocked: Pleased a Barista] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] Right Gallery Room | ||
| CF | > | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | Right Gallery Room | ||
| CF | As with the other rooms, this one is mostly blank. The one thing that | ||
| CF | sets it apart is that to the south, separated only by a waist-high | ||
| CF | dividing wall, is a small café. There's also a doorway leading back | ||
| CF | west to the middle gallery room. | ||
| CF | | ||
| CF | A triptych, comprised mostly of darker tones, dominates the room. An | ||
| CF | informational placard hangs to its right. | ||
| CF | | ||
| CF | On another wall is what appears to be a black-and-white photograph, | ||
| CF | with its own placard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > W | ||
| CF | | ||
| CF | | ||
| CF | Middle Gallery Room | ||
| CF | Similar to the other rooms, this one has white walls and a polished | ||
| CF | vinyl floor. | ||
| CF | | ||
| CF | To the south, the door out of the gallery stands closed. | ||
| CF | | ||
| CF | There is also a doorway to the west, leading to the left gallery room, | ||
| CF | and one to the east, leading to the right one. | ||
| CF | | ||
| CF | A triptych takes up one wall, accompanied by an informational placard. | ||
| CF | | ||
| CF | In the center of the room sits a low bench made of light wood planks. | ||
| CF | | ||
| CF | A security guard stands in one corner, humming to herself. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hello" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > HELLO | ||
| CF | | ||
| CF | "Hey!" the security guard says, giving a little wave. | ||
| CF | | ||
| CF | (You could ask her about herself, how she is, Francis Bacon, The Fury, | ||
| CF | George Dyer, or where you are; or tell her about The Fury or George | ||
| CF | Dyer.) | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a herself" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A HERSELF | ||
| CF | | ||
| CF | "Well, uh," she hesitates, looks around. "My name's Vivica. I've been | ||
| CF | working here as a guard for almost two years now. I was supposed to | ||
| CF | have a lunch break a few hours ago but my replacement never showed up. | ||
| CF | Thanks again for that energy bar, by the way. Really kinda saved my | ||
| CF | ass- oop, sorry, butt there. I was about to pass out!" She lets out a | ||
| CF | bit of a forced laugh. | ||
| CF | | ||
| CF | > | Roger says, "that's not even recyclable! My disappointment is immeasurable" | |
| DavidW says (to ClubFloyd), "a how she is" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A HOW SHE IS | ||
| CF | | ||
| CF | "I'm doing alright," Vivica says. "Better since you gave me that | ||
| CF | energy bar—thanks again for that. You're an absolute lifesaver. It's | ||
| CF | been a long shift, but it'll be over soon, so I'm looking forward to | ||
| CF | that." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a where you are" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A WHERE YOU ARE | ||
| CF | | ||
| CF | "My workplace," Vivica says, shrugging. "An art gallery. Not a very | ||
| CF | popular one, from the looks of it. Small, clean, with enough pull to | ||
| CF | get some of the major works of one of the most influential artists of | ||
| CF | the Twentieth Century. We're in a city, if the traffic noise is any | ||
| CF | indication. That might also explain the size: maybe we're in one of a | ||
| CF | row of skinny buildings along this block. Can't give much more detail | ||
| CF | than that, I'm afraid." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "listen" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > LISTEN | ||
| CF | | ||
| CF | You hear Vivica give a small sigh. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "t fury" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > T FURY | ||
| CF | | ||
| CF | "Which one?" Vivica asks. "The middle one? Yeah, that guy gives me the | ||
| CF | creeps." She shivers. "The first one just looks kind of sad, and the | ||
| CF | third one is funny. But that middle one... Its eyes—if it has | ||
| CF | eyes—are | ||
| CF | covered, but I still feel like it's always watching me. Like the | ||
| CF | Mona Lisa, but infernal." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "yes" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > YES | ||
| CF | | ||
| CF | She shrugs. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "topics" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > TOPICS | ||
| CF | | ||
| CF | You could ask her about Francis Bacon, The Fury, George Dyer, or her | ||
| CF | life; or tell her about George Dyer. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a bacon" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A BACON | ||
| CF | | ||
| CF | She smiles a bit sheepishly. "To be honest, I'm a big fan," she | ||
| CF | admits. "I've loved his work ever since I was a teenager and saw | ||
| CF | Painting 1946 as part of a modern art exhibit. There's | ||
| CF | something about him that just speaks to something real, you | ||
| CF | know? So if you have any questions, I've got plenty of trivia. You've | ||
| CF | been warned!" She laughs. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a dyer" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A DYER | ||
| CF | | ||
| CF | Vivica sighs. "Poor George," she laments. "Not that he had many | ||
| CF | prospects, but he deserved so much better, you know? Francis really | ||
| CF | did him dirty-I'm leery about calling it abuse because it's hard to | ||
| CF | say when the narratives around their relationship are so warped, but | ||
| CF | whatever it was it certainly wasn't healthy." | ||
| CF | | ||
| CF | "He was a petty criminal before he met Bacon, but once they were | ||
| CF | together Bacon started providing for him, sugar daddy style, and he | ||
| CF | had no reason to continue with crime. But he had kind of built this | ||
| CF | identity around being a criminal, you know? So once he lost that he | ||
| CF | didn't know who he was, outside of being Bacon's arm candy. And then | ||
| CF | once he lost that... well, he didn't have anyone to be." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a fury" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A FURY | ||
| CF | | ||
| CF | "Well, the triptych is the first piece that Bacon himself considered | ||
| CF | part of his 'mature' work," Vivica begins. "And it displays a lot of | ||
| CF | themes that he would keep returning to—the Furies, the crucifixion, | ||
| CF | the screaming… He even started referring to it and work like it as a | ||
| CF | kind of self-portrait, not physically but psychologically. | ||
| CF | Emotionally." | ||
| CF | | ||
| CF | "And it's real unnerving, isn't it? Like, you can almost feel | ||
| CF | the suffering roiling out from the canvas. It's disturbing, but I | ||
| CF | think also undeniably profound. That level of feeling you get from | ||
| CF | such simple images is amazing." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "a photograph" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > A PHOTOGRAPH | ||
| CF | | ||
| CF | "Oh yeah, Battleship Potemkin." Vivica nods. "One of the | ||
| CF | oldest films I've ever seen, and still one of the most disturbing. I | ||
| CF | mean, Eisenstein was doing things that directors don't dare do | ||
| CF | today." | ||
| CF | | ||
| CF | "That frame in the other room had a huge impact on Bacon, too. He | ||
| CF | would keep recreating it in his art, for pretty much the rest of his | ||
| CF | life. That one moment of pure grief and suffering, delivered by that | ||
| CF | actress. Can you imagine a single moment of your work having such a | ||
| CF | massive effect on someone, on culture?" | ||
| CF | | ||
| CF | > | Roger says, "This game also has an issue, in my opinion, with all the characters having the same voice" | |
| DavidW says, "hm, yes." | ||
| Jade says, "it is a bit boring becouse nothing happens really" | ||
| DavidW asks, "Should we stop here, then?" | ||
| DavidW says, "I think there's an exit door." | ||
| DavidW says (to ClubFloyd), "l" | Jade says, "but it has a good score at ifdb" | |
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > L | ||
| CF | | ||
| CF | Middle Gallery Room | ||
| CF | Similar to the other rooms, this one has white walls and a polished | ||
| CF | vinyl floor. | ||
| CF | | ||
| CF | To the south, the door out of the gallery stands closed. | ||
| CF | | ||
| CF | There is also a doorway to the west, leading to the left gallery room, | ||
| CF | and one to the east, leading to the right one. | ||
| CF | | ||
| CF | A triptych takes up one wall, accompanied by an informational placard. | ||
| CF | | ||
| CF | In the center of the room sits a low bench made of light wood planks. | ||
| CF | | ||
| CF | Vivica the security guard stands in one corner, watching the room | ||
| CF | carefully. | ||
| CF | | ||
| CF | > | Roger says, "I feel we've seen enough of the game to satisfy ourselves and the Club" | |
| DavidW says (to ClubFloyd), "thanks" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > THANKS | ||
| CF | | ||
| CF | "Sure thing," Vivica replies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "bye" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > BYE | ||
| CF | | ||
| CF | "Bye!" Vivica says, giving a small wave. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | You can't very well walk through a closed door. | ||
| CF | | ||
| CF | > | Jade says, "This game has highh score in ifdb" | |
| DavidW says (to ClubFloyd), "open door" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | You open the door out. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] Middle Gallery Room | ||
| CF | > | ||
| CF | > S | ||
| CF | | ||
| CF | Are you sure? You will be unable to return once you leave. > | ||
| DavidW says (to ClubFloyd), "yes" | ||
| CF ] The Other Side | ||
| CF | Are you sure? You will be unable to return once you leave. > | ||
| CF | > YES | ||
| CF | | ||
| CF | | ||
| CF | Very well. | ||
| CF | | ||
| CF | The Other Side | ||
| CF | You step through the door, and the light blinds you for a moment. Then | ||
| CF | your eyes adjust. | ||
| CF | | ||
| CF | And that's all there is to say on the matter. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | *** The End *** | ||
| CF | | ||
| CF | | ||
| CF | You unlocked 5 achievements out of 17. | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT, UNDO the last | ||
| CF | command, or list your ACHIEVEMENTS? | ||
| CF | > | Jade says, "33%" | |
| Jade asks, "we can't return?" | ||
| DavidW says, "well, UNDO or RESTART, of course." | ||
| Jade asks, "Is nor a savegame system?" | ||
| DavidW says, "The game was just warning you that the game would end if you left the building." | ||
| Jade exclaims, "Ah, ok!" | ||
| DavidW says, "I think this game would be fine if you're in the mood to deepdive into Bacon's troubled life, since there do seem to be juicy details, but I agree about the voices issue and the lack of much happening." | ||
| DavidW says (to ClubFloyd), "achievements" | ||
| CF | command, or list your ACHIEVEMENTS? | ||
| CF | > | ||
| CF ] The Other Side | ||
| CF | > | ||
| CF | > ACHIEVEMENTS | ||
| CF | | ||
| CF | You have unlocked the following achievements: | ||
| CF | | ||
| CF | Friend to Workers: You helped someone on a hard day. | ||
| CF | Leave No Trace: You made sure to clean up after yourself. | ||
| CF | Pleased a Barista: You made a food worker a little less | ||
| CF | miserable. | ||
| CF | Tree-Hugger: You helped keep the space clean. | ||
| CF | We Need To Go Deeper: You found your way somewhere else. | ||
| CF | | ||
| CF | These achievements are still locked: | ||
| CF | | ||
| CF | - Corpsing | ||
| CF | - Empiricist | ||
| CF | - Extra Salt | ||
| CF | - Final Request | ||
| CF | - Green Thumb | ||
| CF | - Groundskeeper | ||
| CF | - Guard's Gossip | ||
| CF | - How Do You Fathom George? | ||
| CF | - Personal Enrichment | ||
| CF | - Queering the Space | ||
| CF | - Social Butterfly | ||
| CF | - Sound of the Fury | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE a saved game, QUIT, UNDO the last | ||
| CF | command, or list your ACHIEVEMENTS? | ||
| CF | > | Jade says, "17" | |
| DavidW says, "I assume Green Thumb is watering the plant." | ||
| Jade says, "yes, It seems so" | ||
| Roger says, "the key to happiness is volunteering for lots of unpaid labour" | ||
| DavidW says, "hmm" | ||
| DavidW says, "I really want to go across the street and get snacks, but I need a lie-down more." | ||
| Jade says, "ok, enough for today then. Thanks for driving." | ||
| DavidW says, "sure thing. Thanks for being here, chatting, helping, suggesting, etc." | ||
| DavidW says, "bye for now. See you all next week. Hope we pick a good game for it." | ||
| DavidW asks, "Should be Ectocomp ones then, yes?" | ||
| Jade says, "I hope so" | ||
| Jade says, "Yes It maybe ectocomp games. I will have plenty of them to play in spanish" | ||
