  
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.
ANOTHER WARNING! A lot (most!) of the transcripts contained on this site are, shall we say, family-friendly. This is not one of those family-friendly transcripts. Just so we're clear. |
|
ToyShop & Floyditorium
|
#ClubFloyd Discussion
|
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| *** SESSION 1 *** | ||
| DavidW says (to ClubFloyd), "load sleepmask traintopiccadilly" | ||
| CF | | ||
| CF | ***CONTENT WARNING*** | ||
| CF | | ||
| CF | This is a POLITICAL story. Some of the characters and situations | ||
| CF | described herein belong to systems that existed in the past and that | ||
| CF | history has already judged. However, especially in recent years, what | ||
| CF | has been taken for granted for decades has become "controversial" and | ||
| CF | "divisive" again, hence this warning. | ||
| CF | | ||
| CF | Furthermore, the game contains scenes of narrated or imagined violence | ||
| CF | that may offend the sensibilities of some readers. In particular, it | ||
| CF | deals with torture (not directly narrated but understood by the | ||
| CF | context), death (sometimes mildly graphic), psychological enforcing, | ||
| CF | weapons and guerrilla situations, up to thermonuclear aftermath. If | ||
| CF | any of these themes are hostile to you for any reason, we recommend | ||
| CF | that you exit the game now. | ||
| CF | | ||
| CF | [...] | DavidW asks, "Are we still okay with this?" | |
| Roger says, "I consent" | ||
| Teaspoon says, "Carry on" | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF | | ||
| DavidW pushes the green 'space' button. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | A stupid rainy day. Another one, the umpteenth in Soviet Europe. It | ||
| CF | kindly keeps the dust down, but moving through the rubble is | ||
| CF | difficult: the risk is that of slipping and breaking a bone. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | I'm in the right alley. I can't see the door, though... Ah! There it | ||
| CF | is, at the end, behind those boards. Now it's only a question of | ||
| CF | grit--stepping into a future that sounds so surreal. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | But even so, less surreal than what we've endured in this wrecked | ||
| CF | country for the last forty years... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Berlin, 1987. It is October 18th. | ||
| CF | | ||
| CF | | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | [DE] ALLEY | ||
| CF | A topographical mayhem, this cul-de-sac is shielded from drones flying | ||
| CF | over by a thick network of old curtains. Which, however, do not slow | ||
| CF | the rain. At the end of the alley, to the north, the place I must | ||
| CF | reach.. | ||
| CF | | ||
| CF | [Type CREDITS for some information about the game.] | ||
| CF | | ||
| CF | > | Teaspoon says, "huh, not what I expected from the title" | |
| DavidW says, "I wonder if the DE means 'Germany' and if we'll be in other countries later." | ||
| DavidW says (to ClubFloyd), "credits" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > CREDITS | ||
| CF | | ||
| CF | | ||
| CF | This game is yet another competitive frustration of Marco Innocenti, | ||
| CF | who for PunyComp24 decided to ignore almost every limit requested by | ||
| CF | the organizers and mix the cards even with regards to the imposed | ||
| CF | theme. Instead of a short game, that could be judged in an hour, the | ||
| CF | author has created a long and complicated puzzle fest, with some story | ||
| CF | attached. I apologize now to all those who will hate it, while I am | ||
| CF | already sending wedding promises to those who, at least a little, will | ||
| CF | appreciate it. | ||
| CF | | ||
| CF | The game is dedicated to Sandro Carlotti, the childhood friend that I | ||
| CF | haven't seen for years, with whom I wrote the first text adventures | ||
| CF | between 1983 and 1987. Sooner or later, I swear, one of those will be | ||
| CF | playable again on Commodore 64. | ||
| CF | | ||
| CF | HUGE thanks go to my uber-patient testers, namely: Adam Biltcliffe, | ||
| CF | Lance Cirone, Piergiorgio d'Errico, Max Fog, Javier Garza, Marius | ||
| CF | Mueller, AM Ruf, Sean (anodyne_one) and Stefan Vogt. Particularly | ||
| CF | abundant thanks to Fredrik Ramsberg for the many (public and secret) | ||
| CF | coding advices and for promising he won't ever again eat kebab pizza. | ||
| CF | More or less. | ||
| CF | | ||
| CF | Check more games by the author at andromedalegacy.com and at | ||
| CF | polyplay.xyz. | ||
| CF | | ||
| CF | > | Teaspoon says, "awww that's sweet" | |
| DavidW says, "yeah" | ||
| Roger says, "Awww, Taleslinger isn't around today to help us out. Oh well." | ||
| DavidW says, "I've never heard of or seen kebab pizza. I wonder what's wrong with it. It sounds tasty enough." | ||
| DavidW says (to ClubFloyd), "x me" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > X ME | ||
| CF | | ||
| CF | Maksim Gromov, 32. A survivor. The world has not broken me; the war | ||
| CF | has not scattered me. I have, perhaps, one last mission. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am empty handed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | The door I must reach is purposefully covered by some wooden planks. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull planks" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > PULL PLANKS | ||
| CF | | ||
| CF | They are rotten, and a little heavy, but they can be maneuvered. | ||
| CF | There, now the door is free. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open door" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | There is no doorknob or bell. Perhaps the only way is to knock. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "knock on door" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > KNOCK ON DOOR | ||
| CF | | ||
| CF | Knock knock. After a few minutes, the door creaks open, and a | ||
| CF | funny-looking guy with oversized glasses peers through the gap. | ||
| CF | | ||
| CF | "Gromov?" he asks. | ||
| CF | | ||
| CF | I don't have time to respond. Pushing its way through the curtains | ||
| CF | above us, a Soviet drone descends into a hover, aiming its cannons at | ||
| CF | us. It must have been very close, I realize, to hear me banging the | ||
| CF | door over this rain. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | | ||
| CF | The guy closes the door in my face, just in time for the drone not to | ||
| CF | notice, leaving me, however, in the middle of nowhere and | ||
| CF | empty-handed. | ||
| CF | | ||
| CF | Out of the corner of my eye I spot the wreck of an old machine left to | ||
| CF | rust in a corner of the alley. I dart towards it without delay, hoping | ||
| CF | its size will shield me from the drone's cannons. | ||
| CF | | ||
| CF | [DE] ALLEY (behind the machinery) | ||
| CF | The old curtains didn't protect us much, after all, while still not | ||
| CF | slowing down the rain. At the end of the alley, to the north, the | ||
| CF | place I should really reach. | ||
| CF | | ||
| CF | I'm taking cover behind an old piece of machinery. | ||
| CF | | ||
| CF | The Soviet drone is buzzing above the alley, searching for me or | ||
| CF | anyone who dares to make a move. | ||
| CF | | ||
| CF | > | Roger says, "drones in 1987... turns out the Soviet Empire is, after all, better at sciencing than those capitalist losers" | |
| DavidW says (to ClubFloyd), "x machinery" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > X MACHINERY | ||
| CF | | ||
| CF | It looks like an old industrial press, for the destruction of waste | ||
| CF | materials. A compact block of two cubic meters partially buried in the | ||
| CF | rubble. | ||
| CF | | ||
| CF | A piece of sheet metal is hidden among the gears. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take sheet" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > TAKE SHEET | ||
| CF | | ||
| CF | The disc pops out easily. It's time for a game. | ||
| CF | | ||
| CF | The drone begins to fly over the alley, trying to find me. | ||
| CF | | ||
| CF | > | Teaspoon says, "ooh a shiny" | |
| DavidW says (to ClubFloyd), "x sheet" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > X SHEET | ||
| CF | | ||
| CF | It looks like a frisbee compressed into a disc. Good for playing with, | ||
| CF | in a different situation than this. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x drone" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > X DRONE | ||
| CF | | ||
| CF | The Soviet-made drone is a brass and steam nightmare. Two rotating | ||
| CF | miniguns hum menacingly. A symbol of raw industrial power. | ||
| CF | | ||
| CF | A red beam is pointing in my direction. I think the drone is starting | ||
| CF | to figure out my location. | ||
| CF | | ||
| CF | The drone emits a faint buzz. | ||
| CF | | ||
| CF | > | Teaspoon asks, "run?" | |
| Roger says, "nah" | ||
| DavidW says, "I'm thinking throw sheet at drone." | ||
| DavidW says (to ClubFloyd), "throw sheet at drone" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > THROW SHEET AT DRONE | ||
| CF | | ||
| CF | The drone knocks the disc down in mid-air, then calculates the launch | ||
| CF | origin point and in a few moments it is above me. What remains of me | ||
| CF | is a Tomatny Sup that no one will ever eat. | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Roger says, "whoopsies" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | DavidW asks, "What should I try now?" | |
| Teaspoon exclaims, "maybe it's a CD!" | ||
| DavidW says, "Even if it is, I don't have a mug of coffee to put on it." | ||
| Roger says, "reflecting the laser might be an answer, sure" | ||
| DavidW says, "oh. that sounds plausible" | ||
| DavidW says (to ClubFloyd), "reflect beam with sheet" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | [DE] ALLEY (behind the machinery) | ||
| CF | The old curtains didn't protect us much, after all, while still not | ||
| CF | slowing down the rain. At the end of the alley, to the north, the | ||
| CF | place I should really reach. | ||
| CF | | ||
| CF | I'm taking cover behind an old industrial press. | ||
| CF | | ||
| CF | The Soviet drone is buzzing above the alley, searching for me or | ||
| CF | anyone who dares to make a move. | ||
| CF | | ||
| CF | A gust of wind throws rain onto my collar. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x beam" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > X BEAM | ||
| CF | | ||
| CF | It's the drone's search engine. It needs to not intercept me. | ||
| CF | | ||
| CF | The drone noise is getting closer, I must have it almost on my head. | ||
| CF | There's no more time! | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put sheet in beam" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > PUT SHEET IN BEAM | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | The drone noise is getting closer, I must have it almost on my head. | ||
| CF | There's no more time! | ||
| CF | | ||
| CF | > | Teaspoon asks, "north I guess?" | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | I might as well try. But my run doesn't last long: the drone's | ||
| CF | miniguns pin me to the door. Immediately afterward they break down | ||
| CF | that one too, now revealed, and go to put an end to the Revolyutsiya. | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "restart" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > RESTART | ||
| CF | | ||
| CF | Please answer yes or no: | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW says (to ClubFloyd), "block beam with sheet" | ||
| CF | [DE] ALLEY (behind the machinery) | ||
| CF | The old curtains didn't protect us much, after all, while still not | ||
| CF | slowing down the rain. At the end of the alley, to the north, the | ||
| CF | place I should really reach. | ||
| CF | | ||
| CF | I'm taking cover behind an old industrial press. | ||
| CF | | ||
| CF | The Soviet drone is buzzing above the alley, searching for me or | ||
| CF | anyone who dares to make a move. | ||
| CF | | ||
| CF | In the end, the Revolution drowned in a sea of indecision. The drone | ||
| CF | pulverizes my shelter and after a few moments--but not neglecting | ||
| CF | itself the pleasure of leaving me two seconds of regret--it pulverizes | ||
| CF | me too. | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | Teaspoon says, "ah. miniguns are a bit trickier" | |
| DavidW says (to ClubFloyd), "restore" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | [DE] ALLEY (behind the machinery) | ||
| CF | The old curtains didn't protect us much, after all, while still not | ||
| CF | slowing down the rain. At the end of the alley, to the north, the | ||
| CF | place I should really reach. | ||
| CF | | ||
| CF | I'm taking cover behind an old industrial press. | ||
| CF | | ||
| CF | The Soviet drone is buzzing above the alley, searching for me or | ||
| CF | anyone who dares to make a move. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "restart" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > RESTART | ||
| CF | | ||
| CF | Are you sure you want to restart? | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF | | ||
| CF | ***CONTENT WARNING*** | ||
| CF | | ||
| CF | This is a POLITICAL story. Some of the characters and situations | ||
| CF | described herein belong to systems that existed in the past and that | ||
| CF | history has already judged. However, especially in recent years, what | ||
| CF | has been taken for granted for decades has become "controversial" and | ||
| CF | "divisive" again, hence this warning. | ||
| CF | | ||
| CF | Furthermore, the game contains scenes of narrated or imagined violence | ||
| CF | that may offend the sensibilities of some readers. In particular, it | ||
| CF | deals with torture (not directly narrated but understood by the | ||
| CF | context), death (sometimes mildly graphic), psychological enforcing, | ||
| CF | weapons and guerrilla situations, up to thermonuclear aftermath. If | ||
| CF | any of these themes are hostile to you for any reason, we recommend | ||
| CF | that you exit the game now. | ||
| CF | | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF | | ||
| DavidW pushes the green 'space' button. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | A stupid rainy day. Another one, the umpteenth in Soviet Europe. It | ||
| CF | kindly keeps the dust down, but moving through the rubble is | ||
| CF | difficult: the risk is that of slipping and breaking a bone. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | I'm in the right alley. I can't see the door, though... Ah! There it | ||
| CF | is, at the end, behind those boards. Now it's only a question of | ||
| CF | grit--stepping into a future that sounds so surreal. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | But even so, less surreal than what we've endured in this wrecked | ||
| CF | country for the last forty years... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Berlin, 1987. It is October 18th. | ||
| CF | | ||
| CF | | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | [DE] ALLEY | ||
| CF | A topographical mayhem, this cul-de-sac is shielded from drones flying | ||
| CF | over by a thick network of old curtains. Which, however, do not slow | ||
| CF | the rain. At the end of the alley, to the north, the place I must | ||
| CF | reach.. | ||
| CF | | ||
| CF | [Type CREDITS for some information about the game.] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | The door I must reach is purposefully covered by some wooden planks. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull planks" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > PULL PLANKS | ||
| CF | | ||
| CF | They are rotten, and a little heavy, but they can be maneuvered. | ||
| CF | There, now the door is free. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "knock on door" | ||
| CF ] [DE] ALLEY | ||
| CF | | ||
| CF | > KNOCK ON DOOR | ||
| CF | | ||
| CF | Knock knock. After a few minutes, the door creaks open, and a | ||
| CF | funny-looking guy with oversized glasses peers through the gap. | ||
| CF | | ||
| CF | "Gromov?" he asks. | ||
| CF | | ||
| CF | I don't have time to respond. Pushing its way through the curtains | ||
| CF | above us, a Soviet drone descends into a hover, aiming its cannons at | ||
| CF | us. It must have been very close, I realize, to hear me banging the | ||
| CF | door over this rain. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | | ||
| CF | The guy closes the door in my face, just in time for the drone not to | ||
| CF | notice, leaving me, however, in the middle of nowhere and | ||
| CF | empty-handed. | ||
| CF | | ||
| CF | Out of the corner of my eye I spot the wreck of an old machine left to | ||
| CF | rust in a corner of the alley. I dart towards it without delay, hoping | ||
| CF | its size will shield me from the drone's cannons. | ||
| CF | | ||
| CF | [DE] ALLEY (behind the machinery) | ||
| CF | The old curtains didn't protect us much, after all, while still not | ||
| CF | slowing down the rain. At the end of the alley, to the north, the | ||
| CF | place I should really reach. | ||
| CF | | ||
| CF | I'm taking cover behind an old piece of machinery. | ||
| CF | | ||
| CF | The Soviet drone is buzzing above the alley, searching for me or | ||
| CF | anyone who dares to make a move. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take sheet" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > TAKE SHEET | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machinery" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > X MACHINERY | ||
| CF | | ||
| CF | It looks like an old industrial press, for the destruction of waste | ||
| CF | materials. A compact block of two cubic meters partially buried in the | ||
| CF | rubble. | ||
| CF | | ||
| CF | A piece of sheet metal is hidden among the gears. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take sheet" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > TAKE SHEET | ||
| CF | | ||
| CF | The disc pops out easily. It's time for a game. | ||
| CF | | ||
| CF | The drone begins to fly over the alley, trying to find me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| DavidW says (to ClubFloyd), "cftrainpic" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "rub sheet" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > RUB SHEET | ||
| CF | | ||
| CF | I achieve nothing by this. | ||
| CF | | ||
| CF | > | Teaspoon asks, "do we throw it like a frisbee and distract the drone?" | |
| DavidW says (to ClubFloyd), "throw disc" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > THROW DISC | ||
| CF | | ||
| CF | Throw it where? | ||
| CF | | ||
| CF | A red beam is pointing in my direction. I think the drone is starting | ||
| CF | to figure out my location. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw disc at beam" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > THROW DISC AT BEAM | ||
| CF | | ||
| CF | I don't know if this is a good idea. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw disc at door" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > THROW DISC AT DOOR | ||
| CF | | ||
| CF | The idea is to distract the drone. I get it. | ||
| CF | | ||
| CF | However, by throwing the disc at the door--which a lot of people have | ||
| CF | worked years to keep hidden--I betray the hiding place of my | ||
| CF | companions. The drone first disintegrates it with its miniguns, then | ||
| CF | launches itself inside, leaving behind a trail of steam and the | ||
| CF | screams of those who still believed in a better world. | ||
| CF | | ||
| CF | [I did something terribly wrong, it looks like. Want to try again? | ||
| CF | Y/N] | Roger asks, "maybe it'll accept a direction?" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW says (to ClubFloyd), "throw disc south" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | [DE] ALLEY (behind the machinery) | ||
| CF | The old curtains didn't protect us much, after all, while still not | ||
| CF | slowing down the rain. At the end of the alley, to the north, the | ||
| CF | place I should really reach. | ||
| CF | | ||
| CF | I'm taking cover behind an old industrial press. | ||
| CF | | ||
| CF | The Soviet drone is buzzing above the alley, searching for me or | ||
| CF | anyone who dares to make a move. | ||
| CF | | ||
| CF | The drone noise is getting closer, I must have it almost on my head. | ||
| CF | There's no more time! | ||
| CF | | ||
| CF | > | Roger says, "serves that guy right for not letting us in, though" | |
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw disc at south" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > THROW DISC AT SOUTH | ||
| CF | | ||
| CF | I don't know if this is a good idea. | ||
| CF | | ||
| CF | The drone noise is getting closer, I must have it almost on my head. | ||
| CF | There's no more time! | ||
| CF | | ||
| CF | A gust of wind throws rain onto my collar. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | Teaspoon says, "we have apparently sicced a drone on our comrades in arms" | |
| DavidW says (to ClubFloyd), "throw disc at curtains" | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | > THROW DISC AT CURTAINS | ||
| CF | | ||
| CF | The disc is shaking in my hands. I have only one shot, and if I miss, | ||
| CF | it's over for me and the whole Stalnaya Gvardiya revolutionary army. | ||
| CF | | ||
| CF | One. Two... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [DE] ALLEY (behind the machinery) | ||
| CF | | ||
| CF | | ||
| CF | Three! | ||
| CF | | ||
| CF | Just over five meters, and yet it takes the disc my whole life to | ||
| CF | reach the target. When it hits, the miracle happens. | ||
| CF | | ||
| CF | The curtain tears, the rainwater inside comes cascading down and hits | ||
| CF | the drone squarely. There are sparks, flashes, and finally all the | ||
| CF | steam contained in the dirty Red Supremacy Machine explodes like a | ||
| CF | well-hit pinhata. The drone tries to regain its balance... | ||
| CF | | ||
| CF | ... But I certainly don't want to stay for the end of the movie. With | ||
| CF | one leap I'm out of hiding and into the door at the end of the alley. | ||
| CF | [...] | Roger says, "game, you just told us the curtains were not impeding the rain at all" | |
| Teaspoon asks, "save?" | ||
| DavidW says, "If this is how the game is starting, it's gonna be a difficult one." | ||
| DavidW says, "I'll save at the next prompt, sure." | ||
| DavidW says (to ClubFloyd), "push space" | ||
| CF ] [DE] STAIRCASEhind the machinery) | ||
| CF | | ||
| CF | | ||
| CF | [DE] STAIRCASE | ||
| CF | We descend in the dark. The walls are peeling, water seeps into the | ||
| CF | cavities. It seems impossible that this tunnel really leads somewhere. | ||
| CF | The stairs go down. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf14" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [DE] STAIRCASEhind the machinery) | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [DE] STAIRCASEhind the machinery) | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | Of course, there are no alternatives. The other Gromov had been | ||
| CF | precise, categorical. Auguststrasse, in the old city--that's where the | ||
| CF | Otryadniks of the Gvardiya, the squad leaders, would be waiting for | ||
| CF | me. There, the discovery made by those boys from the East would be | ||
| CF | revealed to me. There, I would take up my relay and carry on the Dream | ||
| CF | of the Revolutionaries. | ||
| CF | | ||
| CF | It takes courage for something like this. It takes courage to be the | ||
| CF | one who must be the last messenger. | ||
| CF | [...] | Teaspoon says, "fun with guessing the developer's mind again" | |
| Teaspoon says, "ah it's good to be back" | ||
| DavidW says (to ClubFloyd), "push space" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | SpaceWhale presents: | ||
| CF | | ||
| CF | ----------------------- | ||
| CF | A TRAIN TO PICCADILLY | ||
| CF | ----------------------- | ||
| CF | An attempt to remember | ||
| CF | by Marco Innocenti | ||
| CF | Release 1 / Serial number 241229 / Inform v6.42 PunyInform v5.11 | ||
| CF | | ||
| CF | | ||
| CF | [HUB] EIN ALTES WOHNZIMMER | ||
| CF | An old living room. A place that makes no sense, down here. Clean, | ||
| CF | polished, with a decor that I struggle to understand: ochre and yellow | ||
| CF | wallpaper on the walls, in vertical stripes; formica furniture; an old | ||
| CF | gramophone with a shape that is far from brutalist. And then a huge | ||
| CF | carpet, covering almost the entire floor. | ||
| CF | | ||
| CF | A tall, well-built man stands at attention in the center of the room. | ||
| CF | He seems to be waiting for me. | ||
| CF | | ||
| CF | > | Teaspoon says, "ooh, a room with yellow wallpaper" | |
| DavidW says (to ClubFloyd), "x man" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X MAN | ||
| CF | | ||
| CF | A rugged man in his 40s, with a gaunt face, scruffy beard, and sunken | ||
| CF | eyes. Clad in worn military gear, he stands tall but weary, shoulders | ||
| CF | slouched from years of war. Scarred hands grip themselves tightly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "greet man" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > GREET MAN | ||
| CF | | ||
| CF | I approach him, with that hint of suspicion. "Who are you?" I ask. | ||
| CF | | ||
| CF | "My name is Lev Nemov," he answers, without showing the slightest | ||
| CF | affection. "But that is not the most pertinent question now. The most | ||
| CF | pertinent question is: where are we?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to man" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > TALK TO MAN | ||
| CF | | ||
| CF | Confused, I ask: "...and where are we?" In the Berlin underground | ||
| CF | doesn't seem to be the right answer. | ||
| CF | | ||
| CF | "Nowhere, and at no time. Or, perhaps, in all places and at all times. | ||
| CF | A question of splitting hairs." Again, no expression to betray his | ||
| CF | thoughts, Comrade Nemov remains at attention, waiting for me to | ||
| CF | continue the conversation. | ||
| CF | | ||
| CF | > | Teaspoon says, "The Twilight Zone" | |
| Roger says, "things are pretty kinky in this timeline" | ||
| DavidW asks, "Is he saying we're outside space and time, like in a Tardis?" | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | "Isn't this a basement," I ask with a smile that I hope isn't too | ||
| CF | sarcastic. "And what is the purpose of this meeting, anyway? | ||
| CF | Philosophy?" | ||
| CF | | ||
| CF | Nemov finally seems to relax and shows a human expression. "The other | ||
| CF | Gromov told me that you're a no-nonsense type. I hoped he'd tell you | ||
| CF | more, but apparently there wasn't time." | ||
| CF | | ||
| CF | Exhaling slowly, eyes on the floor, I give him the news: "Gromov is | ||
| CF | dead. The bar we were in was obviously not a safe place. The | ||
| CF | Politsiya..." | ||
| CF | | ||
| CF | "Let's leave it at that," he interrupts me. I can see a shadow pass | ||
| CF | quickly across his face. "Have you heard of the Parni s Vostoka?" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | "The Boys from the East," I confirm. "I only know that they brought | ||
| CF | something from Leningrad. But no one knows what it is." | ||
| CF | | ||
| CF | Nemov nods. "Something intangible, yet so big and heavy that it can | ||
| CF | change this world forever. A hope, for the Stalnaya Gvardiya. A hope | ||
| CF | for the Revolution." I wait for him to continue. He turns, and points | ||
| CF | to a table that, until now, I am certain was not there. He points to | ||
| CF | something on its surface. "There are three objects, none of which have | ||
| CF | ever been part of this reality." They are small, and in incredibly | ||
| CF | good condition. One of the three shines, as if it were made of metal. | ||
| CF | | ||
| CF | "Did the Parni bring them?" | ||
| CF | | ||
| CF | "No," Nemov says. "These were stolen by other Gromovs before you." | ||
| CF | | ||
| CF | > | DavidW asks, "other Gromovs? Aren't we Gromov?" | |
| DavidW asks, "Did we get cloned?" | ||
| Teaspoon asks, "Is it like a robot?" | ||
| Teaspoon asks, "a soldier?" | ||
| DavidW says, "perhaps both a robot and a soldier." | ||
| Roger says, "The Brothers Gromov" | ||
| Teaspoon asks, "a multidimensional being?" | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | Something strikes me. "This reality," I whisper, more to myself than | ||
| CF | to Nemov. He seems to pick up on my concerns. | ||
| CF | | ||
| CF | "Something happened once," he explains. "Something that gave birth to | ||
| CF | this... thing we're experiencing. The Parni discovered it by accident, | ||
| CF | in the laboratories of Podporogovoy Fiziki, the Physics Below the | ||
| CF | Threshold. This is what they brought, nothing more than news from | ||
| CF | another space-time. After that, they disappeared. The objects you see | ||
| CF | here now, rare and powerful, are the result of the other Gromovs' | ||
| CF | search for the Boys." | ||
| CF | | ||
| CF | He takes a breath, then points to the objects and looks solemnly at me | ||
| CF | again. | ||
| CF | | ||
| CF | "Your job, Maksim Gromov, is to use these objects to find the Parni | ||
| CF | and, if the Revolyutsiya will help you, restore a world without war | ||
| CF | and suppression." With that, he grabs his stuff and heads for the | ||
| CF | exit. He pauses for just a second, before leaving me alone, and looks | ||
| CF | at me one last time, his eyes full of expectation. | ||
| CF | | ||
| CF | "Just so you know: none of the Gromovs before you have survived this | ||
| CF | mission. That said, whether you succeed or not, it is clear that we | ||
| CF | will never see each other again." Finally, he disappears down the | ||
| CF | stairs. | ||
| CF | | ||
| CF | > | Teaspoon says, "no pressure" | |
| Roger says, "Find the magical panini, got it" | ||
| DavidW asks, "Panini pressure?" | ||
| DavidW asks, "Are you trying to make me hungry?" | ||
| Teaspoon says, "Soviet Q" | ||
| DavidW says (to ClubFloyd), "x table" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | On the polished table are a rubber watch, a vinyl disc and a boxed | ||
| CF | something. | ||
| CF | | ||
| CF | > | Roger says, "hungry like the wolf" | |
| DavidW says (to ClubFloyd), "x watch" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This is a watch made mostly of rubber, with a large quadrant and a | ||
| CF | very simple design. This one is orange like the fruit; a logo on it | ||
| CF | says 'Pop Swatch'. The time is stuck at 12 o'clock exactly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x disc" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X DISC | ||
| CF | | ||
| CF | It's a vinyl record in a cardboard sleeve. It's not one of the classic | ||
| CF | regime music records, though: on the cover are the faces of two | ||
| CF | people, a man and a woman, blond and with a challenging expression. | ||
| CF | She, in particular, has blue eyes but shaped like those of reptiles or | ||
| CF | felines. On the cover is written EURYTHMICS and, on a pin he's | ||
| CF | wearing, REVENGE. Never seen before, scabrous and... revolutionary. | ||
| CF | | ||
| CF | > | Roger says, "What a horrible timeline" | |
| DavidW says (to ClubFloyd), "x boxed something" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X BOXED SOMETHING | ||
| CF | | ||
| CF | Lots of writing, too many: Infocom; Interactive Fiction Plus; Fantasy; | ||
| CF | Standard Level, all nonsense. On the front is a sundial... with a red | ||
| CF | and yellow atomic explosion behind it. Americans might not like the | ||
| CF | theme. | ||
| CF | | ||
| CF | The ones still alive, I mean. | ||
| CF | | ||
| CF | The title reads: Trinity. | ||
| CF | | ||
| CF | > | Roger says, "Maybe we should listen to the record" | |
| Teaspoon says, "LOLOLOLOLOL" | ||
| DavidW asks, "On the gramophone?" | ||
| DavidW says (to ClubFloyd), "push save" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > PUSH SAVE | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | Teaspoon says, "the other side *stole* Trinity." | |
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf15" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Teaspoon says, "well. Our side." | |
| DavidW says (to ClubFloyd), "take all from table" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > TAKE ALL FROM TABLE | ||
| CF | | ||
| CF | There are no things available that match "take all". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take watch" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > TAKE WATCH | ||
| CF | | ||
| CF | As soon as I grab the watch, the air around me warps, as if a bubble | ||
| CF | of water were expanding in every direction. Then there is a | ||
| CF | noise--low, dull--of a bottle under pressure being uncorked, and | ||
| CF | finally an orange glow that takes over everything. | ||
| CF | | ||
| CF | A strange little song rings in my ears... | ||
| CF | [...] | DavidW says, "ack" | |
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF | | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | When the music fades and the colors return, I find myself in... | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | Roger says, "the room name translates as 'an old living room', by the by" | |
| DavidW says, "thanks. I did wonder." | ||
| DavidW says (to ClubFloyd), "x watch" | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This is a watch made mostly of rubber, with a large quadrant and a | ||
| CF | very simple design. This one is orange like the fruit; a logo on it | ||
| CF | says 'Pop Swatch'. The time is stuck at 12 o'clock exactly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wear it" | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | > WEAR IT | ||
| CF | | ||
| CF | It seems to me a sacred object, more than a normal watch. I don't feel | ||
| CF | like debasing it by wearing it... | ||
| CF | | ||
| CF | > | Teaspoon says, "digital watches, which seemed like a pretty neat idea" | |
| DavidW says (to ClubFloyd), "x sign" | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | > X SIGN | ||
| CF | | ||
| CF | It is not clear whether it indicated the way to those coming from the | ||
| CF | lake or, on the contrary, from the road. But something makes me think | ||
| CF | that it is a pin placed there just for me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x lake" | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | > X LAKE | ||
| CF | | ||
| CF | Narrow and long, Lake Bienne bisects the valley like a hypertrophic | ||
| CF | river. The water has a bluish-green hue. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x birds" | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | > X BIRDS | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | A train passes in the distance, with a hat of steam. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x statues" | ||
| CF ] [CH] LAKEVIEW | ||
| CF | | ||
| CF | > X STATUES | ||
| CF | | ||
| CF | Two 'Soldat' in uniform, facing each other like boxers before a match. | ||
| CF | There is nothing heroic about them. If anything, they seem like two | ||
| CF | idiots incapable of any creativity. You can't win a war without | ||
| CF | ingenuity. And these, certainly, don't have any. | ||
| CF | | ||
| CF | > | DavidW asks, "Should we go NE or E?" | |
| Teaspoon says, "I vote e." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEW | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x river" | ||
| CF ] [CH] RIVERIEW | ||
| CF | | ||
| CF | > X RIVER | ||
| CF | | ||
| CF | The river flows northeast, curving gently along the bank, which is | ||
| CF | lined with a beech hedge. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x bridge" | ||
| CF ] [CH] RIVERIEW | ||
| CF | | ||
| CF | > X BRIDGE | ||
| CF | | ||
| CF | Made of stone, relatively new, like everything here in Bienne. | ||
| CF | Everything that is standing, I mean. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x hedge" | ||
| CF ] [CH] RIVERIEW | ||
| CF | | ||
| CF | > X HEDGE | ||
| CF | | ||
| CF | Fagus sylvatica. A noble tree, the beech, which is often converted | ||
| CF | into a hedge for its ability to remain green for almost the entire | ||
| CF | year. One of the last vestiges of the Reich, this thicket seems to | ||
| CF | have survived the madness of Hitler and, after him, of Todesengel. The | ||
| CF | thousand-year-old glory surpassed by a mere plant... | ||
| CF | | ||
| CF | > | DavidW asks, "N or NE?" | |
| Teaspoon asks, "N?" | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] STATION | ||
| CF | Only one track, in both directions, to prove that Bienne is not the | ||
| CF | most visited city in Switzerland. Not since the Confederation also | ||
| CF | became Red territory. An alley goes back south towards the river. | ||
| CF | | ||
| CF | A metal panel weathers the elements in this roofless station. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x panel" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > X PANEL | ||
| CF | | ||
| CF | The classic iron structure that one can find near the tracks. There is | ||
| CF | a poster stuck on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x poster" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > X POSTER | ||
| CF | | ||
| CF | A Soviet officer stands in front of the Eiffel Tower, raising the red | ||
| CF | flag, while European workers salute, holding factory tools. The most | ||
| CF | vulgar and banal of representations. In reality, no one had anything | ||
| CF | to celebrate in Paris, in '57, after almost twenty years of Nazi | ||
| CF | occupation. The faces, for those who remember them, were ultimately | ||
| CF | disconsolate and resigned. | ||
| CF | | ||
| CF | A corner of the poster is peeling off. | ||
| CF | | ||
| CF | The tracks creak metallically, stressed by who knows what. | ||
| CF | | ||
| CF | > | Teaspoon says, "ooh peel it" | |
| DavidW says (to ClubFloyd), "take poster" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > TAKE POSTER | ||
| CF | | ||
| CF | The poster comes off easily, dehydrated and weathered by the years. | ||
| CF | Below--hier ist es--an old train timetable. | ||
| CF | | ||
| CF | I drop the poster and it flies away forever. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x timetable" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > X TIMETABLE | ||
| CF | | ||
| CF | There are about twenty departures, and no arrivals (it is clear that | ||
| CF | it was written when Switzerland was no longer Switzerland). | ||
| CF | | ||
| CF | 08:43 MUNICH 17:18 TURIN | ||
| CF | 08:57 NEUCHATEL 17:33 MUNICH | ||
| CF | 09:21 BERN 17:49 NEUCHATEL | ||
| CF | 09:35 ZURICH 18:02 BERN | ||
| CF | 09:43 BASEL 18:18 TURIN | ||
| CF | 09:57 PARIS 18:33 PARIS | ||
| CF | 10:21 MUNICH 18:49 BASEL | ||
| CF | 10:35 NEUCHATEL 19:02 MUNICH | ||
| CF | 10:43 BERN 19:18 NEUCHATEL | ||
| CF | 10:57 ZURICH 19:33 MILAN | ||
| CF | | ||
| CF | > | Teaspoon says, "none to Piccadilly" | |
| DavidW says, "None at noon either." | ||
| DavidW says (to ClubFloyd), "x tracks" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > X TRACKS | ||
| CF | | ||
| CF | The mechanical force of the Locomotive, an allegory of Workers' Power | ||
| CF | and an unstoppable force. Until thirty years ago, the flagship of | ||
| CF | Vorsprung durch Technik, now a silent warning at the end of every | ||
| CF | empire. | ||
| CF | | ||
| CF | > | Roger says, "dang they've got fast trains here" | |
| DavidW says (to ClubFloyd), "take timetable" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > TAKE TIMETABLE | ||
| CF | | ||
| CF | It seems much harder to tear off the timetable. It has probably fused | ||
| CF | with the metal behind it by now. | ||
| CF | | ||
| CF | The tracks creak metallically, stressed by who knows what. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open panel" | ||
| CF ] [CH] STATIONW | ||
| CF | | ||
| CF | > OPEN PANEL | ||
| CF | | ||
| CF | I can't open that. | ||
| CF | | ||
| CF | > | Teaspoon asks, "do we explore some more?" | |
| Roger says, "Paris to Munich is 850 km" | ||
| DavidW says, "I don't see any reason to copy down the timetable yet." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] RIVERONW | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x buildings" | ||
| CF ] [CH] RIVERONW | ||
| CF | | ||
| CF | > X BUILDINGS | ||
| CF | | ||
| CF | Maybe it's the city rising in altitude. Or maybe it's an area actually | ||
| CF | spared by the cannons. Towers of buildings and ruined domes, glass and | ||
| CF | concrete. Oddly intriguing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | | ||
| CF | The road leads to an unpretentious neighborhood, made up of deserted | ||
| CF | and anonymous buildings. Only one attracts my attention and that's | ||
| CF | where I head. | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machine" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X MACHINE | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 9:33. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x figurines" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X FIGURINES | ||
| CF | | ||
| CF | There's a lot of them in the pocket. Better to address them | ||
| CF | individually. | ||
| CF | | ||
| CF | The pocket contains a golden lion figurine, a stone rooster figurine, | ||
| CF | a black eagle figurine, a metal basilisk figurine, a wooden bear | ||
| CF | figurine, a winged beast figurine, a ramping bull figurine, a | ||
| CF | two-headed raptor, a spiraling snake figurine, an iron donkey | ||
| CF | figurine, a copper griffon figurine and a bronze giraffe figurine. | ||
| CF | | ||
| CF | > | Teaspoon says, "oh! It's like that Hans Christian Anderson thing" | |
| DavidW says, "explain please" | ||
| Teaspoon says, "It's a fairy tale about the most wonderful clock in the world and it makes miracles happen" | ||
| DavidW says, "I have a book of Andersen's stories. I'll look it up later." | ||
| Teaspoon says, "The Most Incredible Thing" | ||
| DavidW says, "I assume that if the correct figurines are put into the correct recesses at the right clock time, something useful or interesting will happen." | ||
| Teaspoon says, "sounds right." | ||
| DavidW says (to ClubFloyd), "x lion" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X LION | ||
| CF | | ||
| CF | It's a nice golden reproduction of a lion. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x left" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X LEFT | ||
| CF | | ||
| CF | The left recess is empty. | ||
| CF | | ||
| CF | > | DavidW says, "I would rather not waste time trying to guess at random what to do here." | |
| DavidW says (to ClubFloyd), "x machine" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X MACHINE | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 9:33. | ||
| CF | | ||
| CF | > | Teaspoon asks, "keep exploring then?" | |
| DavidW says (to ClubFloyd), "x gears" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X GEARS | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 9:33. | ||
| CF | | ||
| CF | The machine makes an oily squeak. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x plates" | ||
| CF ] [CH] UHRENMUSEUM | ||
| CF | | ||
| CF | > X PLATES | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 9:33. | ||
| CF | | ||
| CF | > | Roger says, "maybe we should set our watch" | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] SPIELAUTOMAT | ||
| CF | Steam technology has been pumped up to eleven here. | ||
| CF | | ||
| CF | The small room is a web of pipes and cables that twists and turns, | ||
| CF | interrupted here and there by brass boxes and large, eternally moving | ||
| CF | gears. Whatever clock is kept in motion here, it must be as big as the | ||
| CF | entire city. To the south is the only exit that makes sense. | ||
| CF | | ||
| CF | A sort of domed display stand, made entirely of what appears to be | ||
| CF | polished silver, emerges from the bronze mass. | ||
| CF | | ||
| CF | > | DavidW says, "I'm not sure our watch can be set." | |
| Teaspoon asks, "ooh, a display stand?" | ||
| DavidW says (to ClubFloyd), "x stand" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X STAND | ||
| CF | | ||
| CF | An elaborate stand, made of a shiny, silver-like metal, topped with a | ||
| CF | transparent dome. Inside is exhibited a delicate and complex | ||
| CF | mechanism, stored in one of the two bays present. It is unknown what | ||
| CF | happened to the second object. | ||
| CF | | ||
| CF | On the front side there are two slots: one star-shaped and the other | ||
| CF | taller and thinner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x mechanism" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X MECHANISM | ||
| CF | | ||
| CF | It is a rotating cage, inside which gyroscopic elements compensate for | ||
| CF | gravity with a continuous movement. I believe in watchmaking it is | ||
| CF | called a "tourbillon". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dome" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X DOME | ||
| CF | | ||
| CF | An elaborate stand, made of a shiny, silver-like metal, topped with a | ||
| CF | transparent dome. Inside is exhibited a delicate and complex | ||
| CF | mechanism, stored in one of the two bays present. It is unknown what | ||
| CF | happened to the second object. | ||
| CF | | ||
| CF | On the front side there are two slots: one star-shaped and the other | ||
| CF | taller and thinner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x star slot" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X STAR SLOT | ||
| CF | | ||
| CF | A star-shaped hole. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x thinner slot" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X THINNER SLOT | ||
| CF | | ||
| CF | A tiny fissure, two centimeters tall and a couple of millimeters wide. | ||
| CF | | ||
| CF | > | DavidW asks, "Like a what -- an SSID card?" | |
| Teaspoon says, "I guess when we find this stuff we know where to put them" | ||
| Roger says, "yeah, or a coin maybe" | ||
| DavidW says (to ClubFloyd), "x bay" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X BAY | ||
| CF | | ||
| CF | The bay is locked inside the dome. I have to open it first... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x pipes" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X PIPES | ||
| CF | | ||
| CF | An overwhelming complexity, twisting on itself. A reminder of the | ||
| CF | precision of existence: one gear jams and it's all over. | ||
| CF | | ||
| CF | One of the machines jumps out of the pile, shining silvery. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machines" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X MACHINES | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machine" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X MACHINE | ||
| CF | | ||
| CF | An elaborate stand, made of a shiny, silver-like metal, topped with a | ||
| CF | transparent dome. Inside is exhibited a delicate and complex | ||
| CF | mechanism, stored in one of the two bays present. It is unknown what | ||
| CF | happened to the second object. | ||
| CF | | ||
| CF | On the front side there are two slots: one star-shaped and the other | ||
| CF | taller and thinner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | To the south the only exit that makes sense. | ||
| CF | | ||
| CF | > | DavidW says, "That's saying there's another exit hiding." | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machine" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X MACHINE | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 9:33. | ||
| CF | | ||
| CF | > | DavidW says, "The clock has been at 9:33 all this time." | |
| DavidW says, "I wonder if 9:33 was on the timetable." | ||
| Teaspoon says, "I imagine it only operates when figurines are put in the recesses" | ||
| Teaspoon asks, "maybe we can set time to a specific time to catch a particular train?" | ||
| DavidW says, "hm, ZURICH was 9:35" | ||
| DavidW says, "Anyway, we still have the path flanked by statues from our entry point." | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RIVERMUSEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | A bronze fountain statue stands on the left side of the square. | ||
| CF | | ||
| CF | > | Teaspoon asks, "what's that look like?" | |
| DavidW says (to ClubFloyd), "x fountain" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X FOUNTAIN | ||
| CF | | ||
| CF | The Venner-Brunnen (as the plaque states) is an opulent fountain. Atop | ||
| CF | its pedestal, a valiant armored figure, clad in patinated bronze, | ||
| CF | gazes over the town. The drain has been broken, probably in a bombing, | ||
| CF | so that it is now a hole measuring almost a meter in diameter. Water | ||
| CF | slides in without opposition, leaving the pool constantly empty. | ||
| CF | | ||
| CF | My attention is caught by the sparkle of a coin near the edge of the | ||
| CF | fountain. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take coin" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > TAKE COIN | ||
| CF | | ||
| CF | As I grab the coin, I lean over the edge of the tub... and almost fall | ||
| CF | in. The surface of the pool, never perfectly dry, is slimy and very | ||
| CF | prone to indecent slips. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x coin" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X COIN | ||
| CF | | ||
| CF | It is a 1 Franc coin, dated 1978. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a shiny coin and a Pop Swatch watch. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set watch to 9:33" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > SET WATCH TO 9:33 | ||
| CF | | ||
| CF | No, I can't set that to anything. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push watch" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > PUSH WATCH | ||
| CF | | ||
| CF | Nothing obvious happens. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock tower" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X CLOCK TOWER | ||
| CF | | ||
| CF | I only understood you as far as "x clock" but then you lost me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | Huge, and superimposed on the coat of arms of the Bern bear. The white | ||
| CF | dial seems detached from the wall, as if it were hiding something | ||
| CF | behind it. | ||
| CF | | ||
| CF | The clock says 16:25. | ||
| CF | | ||
| CF | > | Teaspoon says, "huh." | |
| DavidW says (to ClubFloyd), "x coat of arms" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X COAT OF ARMS | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x bear" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X BEAR | ||
| CF | | ||
| CF | The bear is the symbol of Bern, the capital of Biel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open clock" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > OPEN CLOCK | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dial" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X DIAL | ||
| CF | | ||
| CF | Huge, and superimposed on the coat of arms of the Bern bear. The white | ||
| CF | dial seems detached from the wall, as if it were hiding something | ||
| CF | behind it. | ||
| CF | | ||
| CF | The clock says 16:25. | ||
| CF | | ||
| CF | A light wind ruffles my hair. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x building" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X BUILDING | ||
| CF | | ||
| CF | The windows are very close together and almost all touch each other, | ||
| CF | like drunks at a crowded party. Below them a sign indicates the | ||
| CF | building as the Waldleuten Guildhouse. | ||
| CF | | ||
| CF | > | DavidW says, "so, church or guildhouse?>" | |
| Teaspoon says, "guildhouse" | ||
| DavidW says, "okay" | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | An armed guard stands by the stairs, occasionally casting a searching | ||
| CF | glance at me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x guard" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X GUARD | ||
| CF | | ||
| CF | He wears a dark Soviet uniform with the same-old red armband. His | ||
| CF | rifle, an AK-47, hangs ready. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x armband" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X ARMBAND | ||
| CF | | ||
| CF | Dark tunic and pants, with a bold red armband bearing a gold star. A | ||
| CF | member of the KGB or an elite guard unit. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x star" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X STAR | ||
| CF | | ||
| CF | Dark tunic and pants, with a bold red armband bearing a gold star. A | ||
| CF | member of the KGB or an elite guard unit. | ||
| CF | | ||
| CF | > | Teaspoon says, "ah HA" | |
| DavidW says (to ClubFloyd), "x books" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X BOOKS | ||
| CF | | ||
| CF | All the books look alike. Only three differ in binding: history, art | ||
| CF | and culture. Obviously, only and exclusively Soviet. | ||
| CF | | ||
| CF | > | Teaspoon says, "can we steal the star" | |
| Teaspoon says, "or, well, find a way to get it that isn't lethal" | ||
| Roger says, "This city conquered by the star-bellied sneetches what live on the beaches" | ||
| DavidW says, "It appears not. The star isn't a separate item." | ||
| DavidW says (to ClubFloyd), "x art book" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X ART BOOK | ||
| CF | | ||
| CF | Soviet art has been the same for sixty or seventy years, as far as an | ||
| CF | illiterate person like me can tell. Statues of heroes and workers, | ||
| CF | Social Realism, the factory and the Party. In books there are only | ||
| CF | repetitions of the same patterns--from the kraut-field mothers to the | ||
| CF | proud and never-broken-down Soldats--drawn, sculpted and narrated by a | ||
| CF | handful of servants of the Fatherland, without interruption. I imagine | ||
| CF | that if the Reich had not collapsed and, because of this, the | ||
| CF | Stalinist Socialist Union had not expanded beyond its increasingly | ||
| CF | rural borders, there would be no trace of it now. This is propaganda, | ||
| CF | as the Otryadniks teach us. And I imagine it makes no sense to make | ||
| CF | propaganda exclusively at home... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x history book" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X HISTORY BOOK | ||
| CF | | ||
| CF | History has little to tell. The books here are mostly summaries, the | ||
| CF | immobility of the last 30 years the perfect humus. | ||
| CF | | ||
| CF | OCTOBER '43, the Reich conquers Europe. The United Kingdom has been | ||
| CF | fallen for years and the USA has holed up in its New World, with | ||
| CF | little motivation to mix. | ||
| CF | Fourteen years of Reich. Hitler, dead of an overdose or from a badly | ||
| CF | cut batch--no one will ever know--is succeeded by Gunter Todesengel, | ||
| CF | who however proves to be less charismatic and cunning than his | ||
| CF | predecessor, so much so that he causes the Empire of a Thousand Years | ||
| CF | to fail in a tiny fraction of the same. | ||
| CF | OCTOBER '57, Georgij Malenkov declares the Soviet Era. Following the | ||
| CF | fall of the Reich... etc, etc, etc. And it is already today's history. | ||
| CF | | ||
| CF | The two dates in October have been circled in pencil. | ||
| CF | | ||
| CF | As I try to put the book back, a frame--that I hadn't noticed | ||
| CF | before--falls off the top shelf and practically lands in my hand. It | ||
| CF | looks like a portrait of some communist czar... | ||
| CF | | ||
| CF | Noticing this, the guard immediately becomes alert and moves towards | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x portrait" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X PORTRAIT | ||
| CF | | ||
| CF | The frame is all too well kept. The photo inside is of a tall figure | ||
| CF | in uniform, no name given. The hat and insignia tell the usual tale of | ||
| CF | a leader-in-a-manner-of-speaking. | ||
| CF | | ||
| CF | The guard snatches the portrait and places it on one of the tables. | ||
| CF | With a look he implicitly threatens me not to repeat the theft. | ||
| CF | | ||
| CF | > | Teaspoon says, "so we are presumably meant to repeat the theft at some point." | |
| DavidW says (to ClubFloyd), "x culture book" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X CULTURE BOOK | ||
| CF | | ||
| CF | State control over culture is total. Not surprisingly, the few books | ||
| CF | on the subject are the thinnest. It is difficult to make propaganda to | ||
| CF | educated people; this is why the Soviet idea since the 1960s is to not | ||
| CF | really educate anyone anymore. The few names of "thinkers" in these | ||
| CF | volumes are mostly known to everyone and generally considered to be | ||
| CF | unreliable spies. | ||
| CF | | ||
| CF | The entire German section has obviously disappeared. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tables" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X TABLES | ||
| CF | | ||
| CF | The tables are solid, dark wood with thick, carved legs. Their | ||
| CF | surfaces, worn and nicked from years of meetings and meals, reflect | ||
| CF | the history of the guild. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x chairs" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > X CHAIRS | ||
| CF | | ||
| CF | The tall chairs are made of dark, polished wood, with high, straight | ||
| CF | backs featuring carved details. The seats are cushioned with faded, | ||
| CF | embroidered fabric, and the legs are sturdy and slightly curved, | ||
| CF | reflecting the craftsmanship of late 19th-century German design. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to guard" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > TALK TO GUARD | ||
| CF | | ||
| CF | The guard just gives me a dirty look. I don't think he's in the mood | ||
| CF | to chat. Or even if he's allowed to. | ||
| CF | | ||
| CF | > | DavidW asks, "Try the church next?" | |
| Teaspoon says, "makes sense" | ||
| DavidW Or try to go up, past an armed guard? | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUSUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] RINGTHAUSUMT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | I can enter the church to the east and the guildhouse to the | ||
| CF | northeast. Or I can return to the lake to the southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | [CH] CHURCH | ||
| CF | Bavarian Gothic is certainly not one of the freshest and brightest | ||
| CF | architectural styles. In here it almost takes a break, thanks to the | ||
| CF | large windows of the bell tower and, above all, the light that filters | ||
| CF | from the holes in the roof caused by cannon fire. The exit is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the left, against one of the church's more battered walls, is a | ||
| CF | device that appears to be both an elaborate altar and a clock | ||
| CF | mechanism. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x device" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > X DEVICE | ||
| CF | | ||
| CF | This is an extraordinary mechanism, a religious object in a time when | ||
| CF | religion is banned. A series of tubes and contraptions operate other | ||
| CF | gears, which from what appears to be an altar connect up to the | ||
| CF | ceiling. On the altar itself, cogwheels and brass arabesques form a | ||
| CF | pattern that surrounds a smaller combination dial. On this, no doubt, | ||
| CF | the time of the clock on the bell tower can be set. | ||
| CF | | ||
| CF | The clock says 16:25. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dial" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > X DIAL | ||
| CF | | ||
| CF | This is an extraordinary mechanism, a religious object in a time when | ||
| CF | religion is banned. A series of tubes and contraptions operate other | ||
| CF | gears, which from what appears to be an altar connect up to the | ||
| CF | ceiling. On the altar itself, cogwheels and brass arabesques form a | ||
| CF | pattern that surrounds a smaller combination dial. On this, no doubt, | ||
| CF | the time of the clock on the bell tower can be set. | ||
| CF | | ||
| CF | The clock says 16:25. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x window" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > X WINDOW | ||
| CF | | ||
| CF | The single ray of light that ruins the mood. The windows are narrow | ||
| CF | but tall, and lacking the colored glass that usually fogs them up, | ||
| CF | they bring the freshness of the colors of the Red Spring inside. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x hole" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > X HOLE | ||
| CF | | ||
| CF | The war in the country that wanted to remain neutral. So it went | ||
| CF | through the roof, since the main door was closed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | The only exit is west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [CH] CHURCH | ||
| CF | Bavarian Gothic is certainly not one of the freshest and brightest | ||
| CF | architectural styles. In here it almost takes a break, thanks to the | ||
| CF | large windows of the bell tower and, above all, the light that filters | ||
| CF | from the holes in the roof caused by cannon fire. The exit is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the left, against one of the church's more battered walls, is a | ||
| CF | device that appears to be both an elaborate altar and a clock | ||
| CF | mechanism. | ||
| CF | | ||
| CF | > | DavidW asks, "I suppose if we set the clock to a timetable time, the train to that city may arrive?" | |
| DavidW says (to ClubFloyd), "x coin" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > X COIN | ||
| CF | | ||
| CF | It is a 1 Franc coin, dated 1978. | ||
| CF | | ||
| CF | > | DavidW says, "If we need to buy a ticket, we're out of luck." | |
| DavidW says (to ClubFloyd), "set device to 9:35" | ||
| CF ] [CH] CHURCHAUSUMT | ||
| CF | | ||
| CF | > SET DEVICE TO 9:35 | ||
| CF | | ||
| CF | The gears turn. A faint click resonates throughout the structure, up | ||
| CF | to the roof. The time has changed. | ||
| CF | | ||
| CF | > | Teaspoon says, "ooh" | |
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] RINGCHAUSUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | Teaspoon asks, "think that train's here now?" | |
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWSUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | A train passes in the distance, with a hat of steam. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWSUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] STATIONWSUMT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] STATION | ||
| CF | Only one track, in both directions, to prove that Bienne is not the | ||
| CF | most visited city in Switzerland. Not since the Confederation also | ||
| CF | became Red territory. An alley goes back south towards the river. | ||
| CF | | ||
| CF | A metal panel weathers the elements in this roofless station. | ||
| CF | | ||
| CF | On the panel is a faded train timetable. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x timetable" | ||
| CF ] [CH] STATIONWSUMT | ||
| CF | | ||
| CF | > X TIMETABLE | ||
| CF | | ||
| CF | There are about twenty departures, and no arrivals (it is clear that | ||
| CF | it was written when Switzerland was no longer Switzerland). | ||
| CF | | ||
| CF | 08:43 MUNICH 17:18 TURIN | ||
| CF | 08:57 NEUCHATEL 17:33 MUNICH | ||
| CF | 09:21 BERN 17:49 NEUCHATEL | ||
| CF | 09:35 ZURICH 18:02 BERN | ||
| CF | 09:43 BASEL 18:18 TURIN | ||
| CF | 09:57 PARIS 18:33 PARIS | ||
| CF | 10:21 MUNICH 18:49 BASEL | ||
| CF | 10:35 NEUCHATEL 19:02 MUNICH | ||
| CF | 10:43 BERN 19:18 NEUCHATEL | ||
| CF | 10:57 ZURICH 19:33 MILAN | ||
| CF | | ||
| CF | > | DavidW says, "oh. no arrivals" | |
| DavidW says (to ClubFloyd), "put coin on tracks" | ||
| CF ] [CH] STATIONWSUMT | ||
| CF | | ||
| CF | > PUT COIN ON TRACKS | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | Teaspoon says, "huh. We don't actually know what train we even want, do we" | |
| DavidW says, "We do not know." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] RIVERONWSUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 9:33. | ||
| CF | | ||
| CF | > | DavidW says, "I suppose we could try a random combo. Or set the church clock to 9:33 or to 12:00" | |
| DavidW says (to ClubFloyd), "x watch" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This is a watch made mostly of rubber, with a large quadrant and a | ||
| CF | very simple design. This one is orange like the fruit; a logo on it | ||
| CF | says 'Pop Swatch'. The time is stuck at 12 o'clock exactly. | ||
| CF | | ||
| CF | > | DavidW says, "And I can see if the coin fits in that thinner slot." | |
| DavidW says, "Which should we try first" | ||
| Teaspoon says, "coin" | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] SPIELAUTOMAT | ||
| CF | The small room is a web of pipes and cables that twists and turns, | ||
| CF | interrupted here and there by brass boxes and large, eternally moving | ||
| CF | gears. Whatever clock is kept in motion here, it must be as big as the | ||
| CF | entire city. To the south is the only exit that makes sense. | ||
| CF | | ||
| CF | A sort of domed display stand, made entirely of what appears to be | ||
| CF | polished silver, emerges from the bronze mass. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put coin in thinner slot" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > PUT COIN IN THINNER SLOT | ||
| CF | | ||
| CF | The coin enters the slot and disappears with a cling! | ||
| CF | | ||
| CF | > | DavidW says, "okay, that was correct." | |
| DavidW asks, "Now what?" | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | The machine makes an oily squeak. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set clock to 12:00" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > SET CLOCK TO 12:00 | ||
| CF | | ||
| CF | No, I can't set that to anything. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RIVERMUSEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | A light wind ruffles my hair. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | [CH] CHURCH | ||
| CF | Bavarian Gothic is certainly not one of the freshest and brightest | ||
| CF | architectural styles. In here it almost takes a break, thanks to the | ||
| CF | large windows of the bell tower and, above all, the light that filters | ||
| CF | from the holes in the roof caused by cannon fire. The exit is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the left, against one of the church's more battered walls, is a | ||
| CF | device that appears to be both an elaborate altar and a clock | ||
| CF | mechanism. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set device to 12:00" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > SET DEVICE TO 12:00 | ||
| CF | | ||
| CF | The gears turn. A faint click resonates throughout the structure, up | ||
| CF | to the roof. The time has changed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] RINGCHEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | An armed guard stands by the stairs, occasionally casting a searching | ||
| CF | glance at me. | ||
| CF | | ||
| CF | On the central table, a portrait of some famous person in the Soviet | ||
| CF | empire. The guard seems to be keeping an apprehensive eye on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | As I approach the stairs the guard stands in front of me and blocks my | ||
| CF | passage. His gaze is one that does not forgive. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUSUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in windows" | ||
| CF ] [CH] RINGTHAUSUMT | ||
| CF | | ||
| CF | > LOOK IN WINDOWS | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x windows" | ||
| CF ] [CH] RINGTHAUSUMT | ||
| CF | | ||
| CF | > X WINDOWS | ||
| CF | | ||
| CF | The windows are very close together and almost all touch each other, | ||
| CF | like drunks at a crowded party. Below them a sign indicates the | ||
| CF | building as the Waldleuten Guildhouse. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWSUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "swim" | ||
| CF ] [CH] LAKEVIEWSUMT | ||
| CF | | ||
| CF | > SWIM | ||
| CF | | ||
| CF | There's not enough water to swim in. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search lake" | ||
| CF ] [CH] LAKEVIEWSUMT | ||
| CF | | ||
| CF | > SEARCH LAKE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWSUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search hedge" | ||
| CF ] [CH] RIVERIEWSUMT | ||
| CF | | ||
| CF | > SEARCH HEDGE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under bridge" | ||
| CF ] [CH] RIVERIEWSUMT | ||
| CF | | ||
| CF | > LOOK UNDER BRIDGE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | Teaspoon says, "oh it's a Swiss watch, of course" | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWSUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | I can go north, across the river, northeast and west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take lion" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > TAKE LION | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put lion in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT LION IN LEFT | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 10:33. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take lion" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > TAKE LION | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 10:33. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put lion in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT LION IN LEFT | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 10:33. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take lion" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > TAKE LION | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put snake in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT SNAKE IN LEFT | ||
| CF | | ||
| CF | (first taking the spiraling snake figurine) | ||
| CF | It's best if I handle one at a time, so I put back the golden lion | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 15:33. | ||
| CF | | ||
| CF | > | DavidW says, "So the left side changes the hour and right side, the minutes, I assume" | |
| Teaspoon says, "that follows" | ||
| DavidW says (to ClubFloyd), "put rooster in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT ROOSTER IN LEFT | ||
| CF | | ||
| CF | (first taking the stone rooster figurine) | ||
| CF | I take the spiraling snake figurine before putting the stone rooster | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 13:33. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put eagle in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT EAGLE IN LEFT | ||
| CF | | ||
| CF | (first taking the black eagle figurine) | ||
| CF | It's best if I handle one at a time, so I put back the spiraling snake | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the stone rooster figurine before putting the black eagle | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 11:33. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put basilisk in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BASILISK IN LEFT | ||
| CF | | ||
| CF | (first taking the metal basilisk figurine) | ||
| CF | It's best if I handle one at a time, so I put back the stone rooster | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the black eagle figurine before putting the metal basilisk | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:33. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put lion in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT LION IN RIGHT | ||
| CF | | ||
| CF | (first taking the golden lion figurine) | ||
| CF | It's best if I handle one at a time, so I put back the black eagle | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:15. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put rooster in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT ROOSTER IN RIGHT | ||
| CF | | ||
| CF | (first taking the stone rooster figurine) | ||
| CF | I take the golden lion figurine before putting the stone rooster | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:30. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put eagle in clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT EAGLE IN CLOCK | ||
| CF | | ||
| CF | (first taking the black eagle figurine) | ||
| CF | It's best if I handle one at a time, so I put back the golden lion | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | That can't contain things. I should try the pocket or the recesses. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put eagle in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT EAGLE IN RIGHT | ||
| CF | | ||
| CF | I take the stone rooster figurine before putting the black eagle | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:20. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put basilisk in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BASILISK IN RIGHT | ||
| CF | | ||
| CF | (first taking the metal basilisk figurine) | ||
| CF | It's best if I handle one at a time, so I put back the stone rooster | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the black eagle figurine before putting the metal basilisk | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:25. | ||
| CF | | ||
| CF | > | Roger says, "Not an unfair process, but still feels unnecessarily cruel" | |
| Teaspoon says, "Not my kind of puzzle" | ||
| DavidW says (to ClubFloyd), "put bear in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BEAR IN RIGHT | ||
| CF | | ||
| CF | (first taking the wooden bear figurine) | ||
| CF | It's best if I handle one at a time, so I put back the black eagle | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the metal basilisk figurine before putting the wooden bear | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | DavidW says, "I might've missed a clue somewhere." | |
| DavidW says (to ClubFloyd), "clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > CLOCK | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:11. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put beast in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BEAST IN RIGHT | ||
| CF | | ||
| CF | (first taking the winged beast figurine) | ||
| CF | It's best if I handle one at a time, so I put back the metal basilisk | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the wooden bear figurine before putting the winged beast | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:10. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put bull in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BULL IN RIGHT | ||
| CF | | ||
| CF | (first taking the ramping bull figurine) | ||
| CF | It's best if I handle one at a time, so I put back the wooden bear | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the winged beast figurine before putting the ramping bull | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put raptor in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT RAPTOR IN RIGHT | ||
| CF | | ||
| CF | (first taking the two-headed raptor) | ||
| CF | It's best if I handle one at a time, so I put back the winged beast | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the ramping bull figurine before putting the two-headed raptor | ||
| CF | in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:58. | ||
| CF | | ||
| CF | The machine makes an oily squeak. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put snake in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT SNAKE IN RIGHT | ||
| CF | | ||
| CF | (first taking the spiraling snake figurine) | ||
| CF | It's best if I handle one at a time, so I put back the ramping bull | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the two-headed raptor before putting the spiraling snake | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:39. | ||
| CF | | ||
| CF | The machine makes an oily squeak. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put donkey in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT DONKEY IN RIGHT | ||
| CF | | ||
| CF | (first taking the iron donkey figurine) | ||
| CF | It's best if I handle one at a time, so I put back the two-headed | ||
| CF | raptor before taking another. | ||
| CF | | ||
| CF | I take the spiraling snake figurine before putting the iron donkey | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:55. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put griffon in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT GRIFFON IN RIGHT | ||
| CF | | ||
| CF | (first taking the copper griffon figurine) | ||
| CF | It's best if I handle one at a time, so I put back the spiraling snake | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the iron donkey figurine before putting the copper griffon | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:45. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put giraffe in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT GIRAFFE IN RIGHT | ||
| CF | | ||
| CF | (first taking the bronze giraffe figurine) | ||
| CF | It's best if I handle one at a time, so I put back the iron donkey | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the copper griffon figurine before putting the bronze giraffe | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:50. | ||
| CF | | ||
| CF | > | DavidW says, "hm. None of them are :00" | |
| Teaspoon says, "that bit is presumably the puzzle, but it baffles me" | ||
| Teaspoon asks, "do we have to, like, go all around the twelve hours calculating carefully?" | ||
| DavidW says, "well, I'm only assuming the 12:00 on the watch is our target time. The target time may instead be the timetable." | ||
| DavidW says (to ClubFloyd), "put bull in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BULL IN RIGHT | ||
| CF | | ||
| CF | (first taking the ramping bull figurine) | ||
| CF | It's best if I handle one at a time, so I put back the copper griffon | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the bronze giraffe figurine before putting the ramping bull | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 12:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put bull in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BULL IN LEFT | ||
| CF | | ||
| CF | (first taking the ramping bull figurine) | ||
| CF | It's best if I handle one at a time, so I put back the bronze giraffe | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 14:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put bear in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BEAR IN LEFT | ||
| CF | | ||
| CF | (first taking the wooden bear figurine) | ||
| CF | I take the ramping bull figurine before putting the wooden bear | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 20:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put beast in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BEAST IN LEFT | ||
| CF | | ||
| CF | (first taking the winged beast figurine) | ||
| CF | It's best if I handle one at a time, so I put back the ramping bull | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the wooden bear figurine before putting the winged beast | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 21:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put raptor in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT RAPTOR IN LEFT | ||
| CF | | ||
| CF | (first taking the two-headed raptor) | ||
| CF | It's best if I handle one at a time, so I put back the wooden bear | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the winged beast figurine before putting the two-headed raptor | ||
| CF | in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 19:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put donkey in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT DONKEY IN LEFT | ||
| CF | | ||
| CF | (first taking the iron donkey figurine) | ||
| CF | It's best if I handle one at a time, so I put back the winged beast | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the two-headed raptor before putting the iron donkey figurine | ||
| CF | in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 18:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put griffin in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT GRIFFIN IN LEFT | ||
| CF | | ||
| CF | Sorry, I don't understand what "griffin" means. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x figurines" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X FIGURINES | ||
| CF | | ||
| CF | There's a lot of them in the pocket. Better to address them | ||
| CF | individually. | ||
| CF | | ||
| CF | The pocket contains a winged beast figurine, a wooden bear figurine, a | ||
| CF | ramping bull figurine, a bronze giraffe figurine, a copper griffon | ||
| CF | figurine, a spiraling snake figurine, a metal basilisk figurine, a | ||
| CF | black eagle figurine, a stone rooster figurine and a golden lion | ||
| CF | figurine. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put griffon in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT GRIFFON IN LEFT | ||
| CF | | ||
| CF | (first taking the copper griffon figurine) | ||
| CF | It's best if I handle one at a time, so I put back the two-headed | ||
| CF | raptor before taking another. | ||
| CF | | ||
| CF | I take the iron donkey figurine before putting the copper griffon | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 16:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put giraffe in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT GIRAFFE IN LEFT | ||
| CF | | ||
| CF | (first taking the bronze giraffe figurine) | ||
| CF | It's best if I handle one at a time, so I put back the iron donkey | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the copper griffon figurine before putting the bronze giraffe | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 17:35. | ||
| CF | | ||
| CF | > | DavidW says, "okay. I'm gonna check the timetable to see which are possible to dial up" | |
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | Before leaving, I should put the figurine back... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put figurine in pouch" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT FIGURINE IN POUCH | ||
| CF | | ||
| CF | I think you wanted to say "put copper griffon figurine in copper | ||
| CF | griffon figurine". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 17:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put griffon in pocket" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT GRIFFON IN POCKET | ||
| CF | | ||
| CF | I put the copper griffon figurine into the pocket. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RIVERMUSEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] STATIONSEUMT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] STATION | ||
| CF | Only one track, in both directions, to prove that Bienne is not the | ||
| CF | most visited city in Switzerland. Not since the Confederation also | ||
| CF | became Red territory. An alley goes back south towards the river. | ||
| CF | | ||
| CF | A metal panel weathers the elements in this roofless station. | ||
| CF | | ||
| CF | On the panel is a faded train timetable. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x timetable" | ||
| CF ] [CH] STATIONSEUMT | ||
| CF | | ||
| CF | > X TIMETABLE | ||
| CF | | ||
| CF | There are about twenty departures, and no arrivals (it is clear that | ||
| CF | it was written when Switzerland was no longer Switzerland). | ||
| CF | | ||
| CF | 08:43 MUNICH 17:18 TURIN | ||
| CF | 08:57 NEUCHATEL 17:33 MUNICH | ||
| CF | 09:21 BERN 17:49 NEUCHATEL | ||
| CF | 09:35 ZURICH 18:02 BERN | ||
| CF | 09:43 BASEL 18:18 TURIN | ||
| CF | 09:57 PARIS 18:33 PARIS | ||
| CF | 10:21 MUNICH 18:49 BASEL | ||
| CF | 10:35 NEUCHATEL 19:02 MUNICH | ||
| CF | 10:43 BERN 19:18 NEUCHATEL | ||
| CF | 10:57 ZURICH 19:33 MILAN | ||
| CF | | ||
| CF | > | Teaspoon asks, "If we're trying to get to Picadilly, does that mean Paris?" | |
| Roger says, "I don't think so, but who can say" | ||
| DavidW says, "dunno. Only one of those times, 10:35 NEUCHATEL, is possible with the current figurines." | ||
| DavidW says, "Lion + Bull" | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] STATIONSEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | Since there are no trains leaving, I would say the only exit is south | ||
| CF | towards the river. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] RIVERONSEUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put lion in left" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT LION IN LEFT | ||
| CF | | ||
| CF | (first taking the golden lion figurine) | ||
| CF | I take the bronze giraffe figurine before putting the golden lion | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | Some metal element sounds like a string. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put bull in right" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > PUT BULL IN RIGHT | ||
| CF | | ||
| CF | (first taking the ramping bull figurine) | ||
| CF | It's best if I handle one at a time, so I put back the bronze giraffe | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 10:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RIVERMUSEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] STATIONSEUMT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] STATION | ||
| CF | Only one track, in both directions, to prove that Bienne is not the | ||
| CF | most visited city in Switzerland. Not since the Confederation also | ||
| CF | became Red territory. An alley goes back south towards the river. | ||
| CF | | ||
| CF | A metal panel weathers the elements in this roofless station. | ||
| CF | | ||
| CF | On the panel is a faded train timetable. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] STATIONSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x watch" | ||
| CF ] [CH] STATIONSEUMT | ||
| CF | | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This is a watch made mostly of rubber, with a large quadrant and a | ||
| CF | very simple design. This one is orange like the fruit; a logo on it | ||
| CF | says 'Pop Swatch'. The time is stuck at 12 o'clock exactly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] RIVERONSEUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | [CH] CHURCH | ||
| CF | Bavarian Gothic is certainly not one of the freshest and brightest | ||
| CF | architectural styles. In here it almost takes a break, thanks to the | ||
| CF | large windows of the bell tower and, above all, the light that filters | ||
| CF | from the holes in the roof caused by cannon fire. The exit is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the left, against one of the church's more battered walls, is a | ||
| CF | device that appears to be both an elaborate altar and a clock | ||
| CF | mechanism. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set device to 10:35" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > SET DEVICE TO 10:35 | ||
| CF | | ||
| CF | The gears turn. A faint click resonates throughout the structure, up | ||
| CF | to the roof. The time has changed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "out" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > OUT | ||
| CF | | ||
| CF | The only exit is west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] RINGCHEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWEUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] STATIONWEUMT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] STATION | ||
| CF | Only one track, in both directions, to prove that Bienne is not the | ||
| CF | most visited city in Switzerland. Not since the Confederation also | ||
| CF | became Red territory. An alley goes back south towards the river. | ||
| CF | | ||
| CF | A metal panel weathers the elements in this roofless station. | ||
| CF | | ||
| CF | On the panel is a faded train timetable. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x timetable" | ||
| CF ] [CH] STATIONWEUMT | ||
| CF | | ||
| CF | > X TIMETABLE | ||
| CF | | ||
| CF | There are about twenty departures, and no arrivals (it is clear that | ||
| CF | it was written when Switzerland was no longer Switzerland). | ||
| CF | | ||
| CF | 08:43 MUNICH 17:18 TURIN | ||
| CF | 08:57 NEUCHATEL 17:33 MUNICH | ||
| CF | 09:21 BERN 17:49 NEUCHATEL | ||
| CF | 09:35 ZURICH 18:02 BERN | ||
| CF | 09:43 BASEL 18:18 TURIN | ||
| CF | 09:57 PARIS 18:33 PARIS | ||
| CF | 10:21 MUNICH 18:49 BASEL | ||
| CF | 10:35 NEUCHATEL 19:02 MUNICH | ||
| CF | 10:43 BERN 19:18 NEUCHATEL | ||
| CF | 10:57 ZURICH 19:33 MILAN | ||
| CF | | ||
| CF | > | Teaspoon says, "I must admit, I'm not getting this at all" | |
| DavidW says, "me neither" | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] RIVERONWEUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x river" | ||
| CF ] [CH] RIVERONWEUMT | ||
| CF | | ||
| CF | > X RIVER | ||
| CF | | ||
| CF | The river flows northeast, curving gently along the bank, which is | ||
| CF | lined with a beech hedge. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb hedge" | ||
| CF ] [CH] RIVERONWEUMT | ||
| CF | | ||
| CF | > CLIMB HEDGE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take sign" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > TAKE SIGN | ||
| CF | | ||
| CF | It might serve as a placeholder for the next Gromovs, in case I | ||
| CF | don't--... well, it might serve them. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x valley" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > X VALLEY | ||
| CF | | ||
| CF | One of the most orographically docile in the region. It doesn't even | ||
| CF | seem like Switzerland. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "enter statue" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > ENTER STATUE | ||
| CF | | ||
| CF | I would only get my feet wet. And the border looks slippery enough to | ||
| CF | be dangerous. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x statue" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X STATUE | ||
| CF | | ||
| CF | The Venner-Brunnen (as the plaque states) is an opulent fountain. Atop | ||
| CF | its pedestal, a valiant armored figure, clad in patinated bronze, | ||
| CF | gazes over the town. The drain has been broken, probably in a bombing, | ||
| CF | so that it is now a hole measuring almost a meter in diameter. Water | ||
| CF | slides in without opposition, leaving the pool constantly empty. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x plaque" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X PLAQUE | ||
| CF | | ||
| CF | 'Die Venner-Brunnen'. Scratched on the plate by an inexperienced hand, | ||
| CF | not long ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x drain" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X DRAIN | ||
| CF | | ||
| CF | The Venner-Brunnen (as the plaque states) is an opulent fountain. Atop | ||
| CF | its pedestal, a valiant armored figure, clad in patinated bronze, | ||
| CF | gazes over the town. The drain has been broken, probably in a bombing, | ||
| CF | so that it is now a hole measuring almost a meter in diameter. Water | ||
| CF | slides in without opposition, leaving the pool constantly empty. | ||
| CF | | ||
| CF | The mechanisms inside the clock tower grind metallically. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tower" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X TOWER | ||
| CF | | ||
| CF | A square tower with a peculiar pointed hat. An ancient clock with the | ||
| CF | bear of Bern is displayed on the facade. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | Huge, and superimposed on the coat of arms of the Bern bear. The white | ||
| CF | dial seems detached from the wall, as if it were hiding something | ||
| CF | behind it. | ||
| CF | | ||
| CF | The clock says 00:00. | ||
| CF | | ||
| CF | A light wind ruffles my hair. | ||
| CF | | ||
| CF | > | DavidW asks, "I thought I set that to 10:35?" | |
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | [CH] CHURCH | ||
| CF | Bavarian Gothic is certainly not one of the freshest and brightest | ||
| CF | architectural styles. In here it almost takes a break, thanks to the | ||
| CF | large windows of the bell tower and, above all, the light that filters | ||
| CF | from the holes in the roof caused by cannon fire. The exit is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the left, against one of the church's more battered walls, is a | ||
| CF | device that appears to be both an elaborate altar and a clock | ||
| CF | mechanism. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set device to 10:35" | ||
| CF ] [CH] CHURCHEWEUMT | ||
| CF | | ||
| CF | > SET DEVICE TO 10:35 | ||
| CF | | ||
| CF | The gears turn. A faint click resonates throughout the structure, up | ||
| CF | to the roof. The time has changed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] RINGCHEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] RINGCHEWEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | Huge, and superimposed on the coat of arms of the Bern bear. The white | ||
| CF | dial seems detached from the wall, as if it were hiding something | ||
| CF | behind it. | ||
| CF | | ||
| CF | The clock says 00:00. | ||
| CF | | ||
| CF | The mechanisms inside the clock tower grind metallically. | ||
| CF | | ||
| CF | > | Teaspoon asks, "maybe this is what we wanted?" | |
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | An armed guard stands by the stairs, occasionally casting a searching | ||
| CF | glance at me. | ||
| CF | | ||
| CF | On the central table, a portrait of some famous person in the Soviet | ||
| CF | empire. The guard seems to be keeping an apprehensive eye on it. | ||
| CF | | ||
| CF | > | DavidW says, "no obvious change here" | |
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUSUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWSUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWSUMT | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | Migratory birds leave this place for the southern skies. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 10:35. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] SPIELAUTOMAT | ||
| CF | The small room is a web of pipes and cables that twists and turns, | ||
| CF | interrupted here and there by brass boxes and large, eternally moving | ||
| CF | gears. Whatever clock is kept in motion here, it must be as big as the | ||
| CF | entire city. To the south is the only exit that makes sense. | ||
| CF | | ||
| CF | A sort of domed display stand, made entirely of what appears to be | ||
| CF | polished silver, emerges from the bronze mass. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x stand" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > X STAND | ||
| CF | | ||
| CF | An elaborate stand, made of a shiny, silver-like metal, topped with a | ||
| CF | transparent dome. Inside is exhibited a delicate and complex | ||
| CF | mechanism, stored in one of the two bays present. It is unknown what | ||
| CF | happened to the second object. | ||
| CF | | ||
| CF | On the front side there are two slots: one star-shaped and the other | ||
| CF | taller and thinner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open dome" | ||
| CF ] [CH] SPIELAUTOMAT | ||
| CF | | ||
| CF | > OPEN DOME | ||
| CF | | ||
| CF | There must be some hidden mechanism because there is no way to operate | ||
| CF | it by hand. | ||
| CF | | ||
| CF | > | DavidW says, "I'm ready to try hitting the guard at this point." | |
| Teaspoon says, "do it" | ||
| DavidW says, "Or climbing the clock tower from the outside." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] UHRENMUSEUMT | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RIVERMUSEUMT | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] LAKEVIEWEUMT | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | A train passes in the distance, with a hat of steam. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb tower" | ||
| CF ] [CH] RINGVIEWEUMT | ||
| CF | | ||
| CF | > CLIMB TOWER | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | An armed guard stands by the stairs, occasionally casting a searching | ||
| CF | glance at me. | ||
| CF | | ||
| CF | On the central table, a portrait of some famous person in the Soviet | ||
| CF | empire. The guard seems to be keeping an apprehensive eye on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit guard" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > HIT GUARD | ||
| CF | | ||
| CF | Without a concrete strategy in mind, I throw myself on the guard, | ||
| CF | trying to see if "armed" was an important word in his description. | ||
| CF | Sure enough, it was the KEY word: with a rifle shot he shoots me two | ||
| CF | meters away and opens a new buttonhole in the middle of my old dress. | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Teaspoon says, "oops" | |
| Teaspoon asks, "oh, we're female?" | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [CH] ZUNFTHAUSUMT | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | DavidW says, "News to me." | |
| Teaspoon asks, "do we have anything in our pockets?" | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | An armed guard stands by the stairs, occasionally casting a searching | ||
| CF | glance at me. | ||
| CF | | ||
| CF | On the central table, a portrait of some famous person in the Soviet | ||
| CF | empire. The guard seems to be keeping an apprehensive eye on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a Pop Swatch watch. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "kiss guard" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > KISS GUARD | ||
| CF | | ||
| CF | Too much affection can lead to... accidents. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take portrait" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > TAKE PORTRAIT | ||
| CF | | ||
| CF | As I pick it up, the guard shakes and points in my direction with war | ||
| CF | in his eyes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | The exit is southwest. A small staircase leads up. | ||
| CF | | ||
| CF | The guard snatches the portrait and places it on one of the tables. | ||
| CF | With a look he implicitly threatens me not to repeat the theft. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The guard quickly chases me down the street. | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | The guard is on the street and he's stalking me like a bloodhound. | ||
| CF | | ||
| CF | > | DavidW says, "This is new." | |
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The guard snatches the portrait and hastily goes back into the | ||
| CF | guildhouse. | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | Roger says, "maybe we push him into the slippery fountain hole" | |
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [CH] RINGVIEWS | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push guard" | ||
| CF ] [CH] RINGVIEWS | ||
| CF | | ||
| CF | > PUSH GUARD | ||
| CF | | ||
| CF | Interesting interaction. However, the purpose of the guard is to | ||
| CF | identify suspects. A suspect, I was already; now that he could | ||
| CF | see--after careful examination--that I have neither documents nor the | ||
| CF | kontrolnaya karta, I become a certainty. Like the one hundred and | ||
| CF | twenty years that I will have to do in the Volochanka gulag. | ||
| CF | | ||
| CF | [I did something terribly wrong, it looks like. Want to try again? | ||
| CF | Y/N] | Teaspoon says, "oops" | |
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [CH] RINGVIEWS | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Please answer yes or no: | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [CH] RINGVIEWS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [CH] RING | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | The guard is on the street and he's stalking me like a bloodhound. | ||
| CF | | ||
| CF | The guard snatches the portrait and hastily goes back into the | ||
| CF | guildhouse. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | An armed guard stands by the stairs, occasionally casting a searching | ||
| CF | glance at me. | ||
| CF | | ||
| CF | On the central table, a portrait of some famous person in the Soviet | ||
| CF | empire. The guard seems to be keeping an apprehensive eye on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take portrait" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > TAKE PORTRAIT | ||
| CF | | ||
| CF | As I pick it up, the guard shakes and points in my direction with war | ||
| CF | in his eyes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | The guard quickly chases me down the street. | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | The guard is on the street and he's stalking me like a bloodhound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put portrait in fountain" | ||
| CF ] [CH] RINGTHAUS | ||
| CF | | ||
| CF | > PUT PORTRAIT IN FOUNTAIN | ||
| CF | | ||
| CF | The portrait flies into the fountain a pleasure, but gets stuck in a | ||
| CF | protuberance of the drain. The guard lets out a cry and then dives | ||
| CF | headlong to save it. | ||
| CF | | ||
| CF | The mouldy edge, however, causes him to slip and find himself, head | ||
| CF | down, half body inside the tub in a last attempt to preserve his | ||
| CF | loyalty to the Fatherland. The scene, if it were not ridiculous, would | ||
| CF | be touching. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf16" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [CH] RINGTHAUS | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGTHAUS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | | ||
| CF | Before I could leave the Ring, the guard manages to regain control of | ||
| CF | the situation and save the portrait. A second later, or perhaps a | ||
| CF | thousand years later, I have spent my life in a windowless cell of two | ||
| CF | meters by two in the Siberian cold. | ||
| CF | | ||
| CF | [I did something terribly wrong, it looks like. Want to try again? | ||
| CF | Y/N] | Roger says, "well okay" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [CH] RINGTHAUS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [CH] RING | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | The guard is upside down in the tub, with his hands already on the | ||
| CF | portrait. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push guard" | ||
| CF ] [CH] RING | ||
| CF | | ||
| CF | > PUSH GUARD | ||
| CF | | ||
| CF | Sometimes, all you need in life is a little push. That's what the | ||
| CF | other Gromov said, an insane grin filling his face ear to ear. | ||
| CF | | ||
| CF | In this case, the push literally takes the ground out from under the | ||
| CF | guard who, with no foothold left, plummets into the pool at speeds | ||
| CF | fast enough to have him requisitioned by the drain. | ||
| CF | | ||
| CF | That it'll never give him back, I can be sure of that. | ||
| CF | | ||
| CF | > | Teaspoon says, "um" | |
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf17" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [CH] RING | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Teaspoon says, "that's very alarming about our backstory, isn't it" | |
| DavidW says, "I'm still unclear what that backstory is." | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | [CH] BANQUET HALL | ||
| CF | If "having a roof over your head"--the metaphor my parents sold me to | ||
| CF | save me from the Revolyutsiya's delusions--means safety, stability and | ||
| CF | protection, we are in a very bad situation here. | ||
| CF | | ||
| CF | Everything taller than two meters has been swept away. The sky is in | ||
| CF | the room with me. The great libation table of the guild is broken, a | ||
| CF | metaphor for this entire nation and the rest of Europe. The stairs | ||
| CF | leading down seem to be the only stable thing here. | ||
| CF | | ||
| CF | One of the windows, on the south side, is intact. Through it I can see | ||
| CF | the clock tower of the adjacent church. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tower" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > X TOWER | ||
| CF | | ||
| CF | Something seems stuck the gap between the clock face and the wall of | ||
| CF | the clock tower: a small metal shape, difficult to decipher. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x shape" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > X SHAPE | ||
| CF | | ||
| CF | Something seems stuck the gap between the clock face and the wall of | ||
| CF | the clock tower: a small metal shape, difficult to decipher. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open window" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > OPEN WINDOW | ||
| CF | | ||
| CF | There are no handles or anything like that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x table" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | Once a noble tree, large and massive, first cut into planks and | ||
| CF | finally demolished. More symbolisms that I struggle to accept. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "break window" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > BREAK WINDOW | ||
| CF | | ||
| CF | There is only the risk of severing an artery in my arm. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | Something seems stuck the gap between the clock face and the wall of | ||
| CF | the clock tower: a small metal shape, difficult to decipher. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x gap" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > X GAP | ||
| CF | | ||
| CF | Something seems stuck the gap between the clock face and the wall of | ||
| CF | the clock tower: a small metal shape, difficult to decipher. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take shape" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > TAKE SHAPE | ||
| CF | | ||
| CF | It's way beyond my reach. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [CH] BANQUET HALL | ||
| CF | Everything taller than two meters has been swept away. The sky is in | ||
| CF | the room with me. The great libation table of the guild is broken, a | ||
| CF | metaphor for this entire nation and the rest of Europe. The stairs | ||
| CF | leading down seem to be the only stable thing here. | ||
| CF | | ||
| CF | One of the windows, on the south side, is intact. Through it I can see | ||
| CF | the clock tower of the adjacent church. | ||
| CF | | ||
| CF | > | DavidW says, "This prize of a new viewpoint is insufficent." | |
| DavidW says (to ClubFloyd), "x watch" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This is a watch made mostly of rubber, with a large quadrant and a | ||
| CF | very simple design. This one is orange like the fruit; a logo on it | ||
| CF | says 'Pop Swatch'. The time is stuck at 12 o'clock exactly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "shake watch" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > SHAKE WATCH | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wind watch" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > WIND WATCH | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | Teaspoon asks, "is there a way to get there?" | |
| Roger says, "This might be a good place to wrap it up for today" | ||
| Roger says, "some progress, some puzzle" | ||
| Teaspoon says, "still not a very good sense of what we're doing yet, but it's nice to be back" | ||
| DavidW says, "ok, let's stop here." | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | Roger says, "I think you can hold on to the pass for now; it might go away after you logoff, but we can fix that easily enough next time." | |
| DavidW says (to ClubFloyd), "cftraintopiccadilly" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | DavidW says, "Thanks for playing and helping and all that good stuff." | |
| Roger exclaims, "thanks for driving!" | ||
| DavidW says, "you're welcome." | ||
| DavidW says, "I just wish I got us a bit further." | ||
| Teaspoon says, "thanks lots, David" | ||
| DavidW says, "I bet that stuck thing is the star we need for the dome" | ||
| *** SESSION 2 *** | ||
| DavidW says, "We started A Train to Piccadilly last week." | ||
| Jacqueline says, "Ah." | ||
| DavidW says, "Notes are at [LINK]" | ||
| Jacqueline asks, "That title sounds like a lovely game. Piccadilly as in Piccadilly Circus / London?" | ||
| Jacqueline goes to look at the notes. | ||
| DavidW says, "The game takes place in a dystopian alternate Earth where Hitler won." | ||
| Jacqueline says, "... oh." | ||
| Jacqueline says, "So, not those things that I just said. Got it." | ||
| DavidW says, "After Hilter died, a Soviet guy took over and made a mess of things." | ||
| Jacqueline asks, "I hesitate to ask this, but... in a good way or an even worse way?" | ||
| DavidW says, "We're some sort of revolutionary-ist who's trying to find some guys who can do an Uno Reverse on the whole thing." | ||
| Jacqueline says, "Got it." | ||
| DavidW says, "In a living room outside of normal time and space, there's three objects from our normal universe." | ||
| DavidW says, "Picking up the watch took us to Switzerland, and we explored there." | ||
| DavidW says, "All sorts of clock-related puzzles." | ||
| Jacqueline says, "Interesting." | ||
| Jacqueline says, "Certainly imaginative plot. Can't wait to see the writing." | ||
| DavidW says, "What I learned when making my notes is that dropping the watch returns us to the living room." | ||
| Jacqueline says, "Ah. It's Marco. Nice." | ||
| DavidW says, "There's a Eurythmics vinyl record and a Trinity box that we haven't used at all yet. I suggest we try those next since we were kinda stuck otherwise." | ||
| Jacqueline says, "Wait, wow." | ||
| Jacqueline | The game is dedicated to Sandro Carlotti, the childhood friend that I haven't seen for years, with whom I wrote the first text adventures between 1983 and 1987. Sooner or later, I swear, one of those will be playable again on Commodore 64. | ||
| Roger says, "Sounds good to me" | ||
| Jacqueline says, "Marco is apparently older than I thought. Huh." | ||
| DavidW says, "I was hoping Jade and or Knight would also be here." | ||
| DavidW says, "This isn't the easiest game and I need all the help I can get." | ||
| Jacqueline says, "I have a hard stop in about two hours, but of course we could wait another 5 or 10." | ||
| DavidW says, "No, let's start." | ||
| Jacqueline says, "Not sure how much help I will be but I will try." | ||
| DavidW says, "I've been on tinderhooks all week." | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [CH] BANQUET HALL | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [CH] BANQUET HALL | ||
| CF | Everything taller than two meters has been swept away. The sky is in | ||
| CF | the room with me. The great libation table of the guild is broken, a | ||
| CF | metaphor for this entire nation and the rest of Europe. The stairs | ||
| CF | leading down seem to be the only stable thing here. | ||
| CF | | ||
| CF | One of the windows, on the south side, is intact. Through it I can see | ||
| CF | the clock tower of the adjacent church. | ||
| CF | | ||
| CF | > | Jacqueline says, "aw." | |
| DavidW says (to ClubFloyd), "drop watch" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > DROP WATCH | ||
| CF | | ||
| CF | As I let go of the watch, the bubble resumes, to land me in... | ||
| CF | | ||
| CF | [HUB] EIN ALTES WOHNZIMMER | ||
| CF | An old living room. Clean, polished, with ochre and yellow wallpaper | ||
| CF | on the walls, in vertical stripes; formica furniture; an old | ||
| CF | gramophone with a shape that is far from brutalist. And then a huge | ||
| CF | carpet, covering almost the entire floor. | ||
| CF | | ||
| CF | I can see a polished table (on which are a Pop Swatch watch, a Revenge | ||
| CF | by Eurythmics vinyl record and a Trinity box) here. | ||
| CF | | ||
| CF | > | DavidW asks, "Record or box?" | |
| DavidW says (to ClubFloyd), "x me" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X ME | ||
| CF | | ||
| CF | Maksim Gromov, 32. A survivor. The world has not broken me; the war | ||
| CF | has not scattered me. I have, perhaps, one last mission. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am empty handed. | ||
| CF | | ||
| CF | > | Jacqueline says, "Man, a Swatch." | |
| DavidW says (to ClubFloyd), "x watch" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X WATCH | ||
| CF | | ||
| CF | This is a watch made mostly of rubber, with a large quadrant and a | ||
| CF | very simple design. This one is orange like the fruit; a logo on it | ||
| CF | says 'Pop Swatch'. The time is stuck at 12 o'clock exactly. | ||
| CF | | ||
| CF | > | DavidW says, "These things are very out of place and time for this version of the world." | |
| Jacqueline nods. | ||
| DavidW asks, "If no one objects, I'll pick up the record next?" | ||
| DavidW says (to ClubFloyd), "x record" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X RECORD | ||
| CF | | ||
| CF | It's a vinyl record in a cardboard sleeve. It's not one of the classic | ||
| CF | regime music records, though: on the cover are the faces of two | ||
| CF | people, a man and a woman, blond and with a challenging expression. | ||
| CF | She, in particular, has blue eyes but shaped like those of reptiles or | ||
| CF | felines. On the cover is written EURYTHMICS and, on a pin he's | ||
| CF | wearing, REVENGE. Never seen before, scabrous and... revolutionary. | ||
| CF | | ||
| CF | > | Roger says, "33.3 revolutions per minute, to be precise" | |
| Jacqueline says, "hahah" | ||
| DavidW says, "There's a gramophone in this room, btw, but I believe taking the record takes us elsewhere." | ||
| DavidW says (to ClubFloyd), "x gramophone" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X GRAMOPHONE | ||
| CF | | ||
| CF | The disc is topped by a sort of golden cornucopia from which I guess | ||
| CF | the music comes out. The base has arabesques and chiseled embroidery. | ||
| CF | Too many curves, to belong to a Berlin house. Even before the Spring | ||
| CF | of '65. | ||
| CF | | ||
| CF | > | Jacqueline says (to Roger), "I must be in a good mood to have laughed at the very fatherly Dad Joke." | |
| Roger says, "I feel 50/50 that it was intentional by the author" | ||
| Jacqueline says, "Possibly." | ||
| DavidW says (to ClubFloyd), "take record" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > TAKE RECORD | ||
| CF | | ||
| CF | As soon as I grab the disc, the universe begins to spin like I'm at | ||
| CF | the center of an infinite carousel. It accelerates, until a | ||
| CF | kaleidoscope of flashes erases everything. | ||
| CF | | ||
| CF | A strange little song rings in my ears... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF | | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK] TURRET | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | When the music fades and the kaleidoscope breaks, I find myself in... | ||
| CF | | ||
| CF | [UK] TURRET | ||
| CF | The treetops showing through the windows indicate that I am on the top | ||
| CF | floor of a tower. The walls are bare, red brick, but incredibly | ||
| CF | pristine. The rest is empty air, apart from a monumental staircase | ||
| CF | leading down. | ||
| CF | | ||
| CF | A large hand-painted sign, more than two metres long and completely | ||
| CF | out of place here, reads WELCOME TO ABERDEEN, THE GRANITE CITY. | ||
| CF | | ||
| CF | > | DavidW says, "There was a helpful sign when we took the watch, too. It's like the signs were placed just for us." | |
| DavidW says (to ClubFloyd), "x sign" | ||
| CF ] [UK] TURRET | ||
| CF | | ||
| CF | > X SIGN | ||
| CF | | ||
| CF | A weathered, hand-painted sign with bold, faded letters, its vintage | ||
| CF | charm framed by chipped paint and the patina of age. Someone has | ||
| CF | engraved a series of signatures on it: Parni, then Gromov, Gromov and | ||
| CF | Gromov again. Not very reassuring... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sign sign" | ||
| CF ] [UK] TURRET | ||
| CF | | ||
| CF | > SIGN SIGN | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | DavidW says, "I don't yet understand how there are multiple Gromovs." | |
| DavidW says (to ClubFloyd), "look behind sign" | ||
| CF ] [UK] TURRET | ||
| CF | | ||
| CF | > LOOK BEHIND SIGN | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x city" | ||
| CF ] [UK] TURRET | ||
| CF | | ||
| CF | > X CITY | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK] WEEPING STONES | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | [UK] WEEPING STONES | ||
| CF | The large staircase spiraling up and down is composed of extraordinary | ||
| CF | steps of pink stone, covered with marble of the same color: nine | ||
| CF | segments that bloom from a central column, also in stone. Below, the | ||
| CF | light rises in the vertical chamber, blurred but powerful like an | ||
| CF | enormous cotton flower. | ||
| CF | | ||
| CF | > | Jacqueline asks (of Well,), "there's, like, time travel and stuff happening, so quantum multiple universes and stuff would allow multiples of things, right?" | |
| DavidW says, "I'm having trouble picturing what's described." | ||
| DavidW says, "I suppose, yes." | ||
| Jacqueline says, "Yeah, that description is trippy." | ||
| DavidW says, "I'm thinking previous versions of ourselves has attempted our task and failed." | ||
| Jacqueline nods. | ||
| DavidW says (to ClubFloyd), "x stone" | ||
| CF ] [UK] WEEPING STONES | ||
| CF | | ||
| CF | > X STONE | ||
| CF | | ||
| CF | The steps, nine in total, are actually made of stone and only covered | ||
| CF | in marble on the upper part. This, in fact, seems to be raised from | ||
| CF | the base by a cushion of air. Interesting. | ||
| CF | | ||
| CF | > | Roger says, "There might have been some 'you are our last hope' stuff in the preamble but it's kind of blurring together" | |
| DavidW says (to ClubFloyd), "x column" | ||
| CF ] [UK] WEEPING STONES | ||
| CF | | ||
| CF | > X COLUMN | ||
| CF | | ||
| CF | The central column has no particular features, but in its center a | ||
| CF | niche appears to have been walled up a long time ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x niche" | ||
| CF ] [UK] WEEPING STONES | ||
| CF | | ||
| CF | > X NICHE | ||
| CF | | ||
| CF | The central column has no particular features, but in its center a | ||
| CF | niche appears to have been walled up a long time ago. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "i" | ||
| CF ] [UK] WEEPING STONES | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a Revenge by Eurythmics vinyl record. | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh. Can't exactly unbrick a closed niche with an LP." | |
| DavidW says, "hmm. Any walled up niche may need to be breached. If we find a pickaxe, I wanna attack this column with it." | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | As I descend the steps, they make muffled sounds. When I step off of | ||
| CF | the last one, there's a mechanical whine, like gears resetting. | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x jigsaw" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > X JIGSAW | ||
| CF | | ||
| CF | The jigsaw is at least two square meters. It represents an unusual | ||
| CF | hunting scene, where knights on horseback are pointing their lances at | ||
| CF | musical instruments of all kinds. The three most prominent | ||
| CF | accommodations are vaguely shaped like a viola, an organ, and a lyre. | ||
| CF | | ||
| CF | All the three pieces are still missing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x fireplace" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > X FIREPLACE | ||
| CF | | ||
| CF | The fireplace mouth is almost two meters wide, surmounted by a | ||
| CF | bas-relief in golden stone and surrounded by two prominent wooden | ||
| CF | panels. | ||
| CF | | ||
| CF | There still seems to be a mound of embers in the fireplace, not quite | ||
| CF | out. Someone must have been here not long ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search mound" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > SEARCH MOUND | ||
| CF | | ||
| CF | The embers seem not entirely dead. | ||
| CF | | ||
| CF | An old poker emerges from the pile. | ||
| CF | | ||
| CF | At the point where it dips into the liveliest embers, glowing in the | ||
| CF | red of heat, something catches my eye. It looks like a kind of brass | ||
| CF | pin, half buried. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take poker" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > TAKE POKER | ||
| CF | | ||
| CF | The poker doesn't seem to be hot. I easily pull it out. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "move pin with poker" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > MOVE PIN WITH POKER | ||
| CF | | ||
| CF | That's overcomplicated. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take pin" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > TAKE PIN | ||
| CF | | ||
| CF | I try to catch the pin, but it's too deep in the hot coals. It's too | ||
| CF | hot. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x armor" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > X ARMOR | ||
| CF | | ||
| CF | Black as pitch, shiny. Not holding a weapon in the hands, its arms | ||
| CF | folded in its lap suggest a severe stomachache. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "move arms" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > MOVE ARMS | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | Faint music comes from somewhere beyond the walls. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in armor" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > LOOK IN ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under table" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > LOOK UNDER TABLE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x table" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | A table that looks like it was made a couple of years ago. Soviet | ||
| CF | made, not a single element out of place, every angle is ninety | ||
| CF | degrees. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x horns" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > X HORNS | ||
| CF | | ||
| CF | The principal hobby of the owners--whoever they are--must be hunting. | ||
| CF | There are horns of every horned animal that can be counted. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x floor" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > X FLOOR | ||
| CF | | ||
| CF | A look in that direction reveals nothing new. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "listen" | ||
| CF ] [UK] DINING HALLNES | ||
| CF | | ||
| CF | > LISTEN | ||
| CF | | ||
| CF | A strange organ music, now louder. | ||
| CF | | ||
| CF | > | DavidW asks, "West to living room?" | |
| DavidW says, "I'm guessing we need to find the missing jigsaw pieces." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [UK] GRAND LIVING | ||
| CF | The large living room has been ransacked and is practically empty. A | ||
| CF | single sofa, now devastated, miraculously stands in the center of the | ||
| CF | room. Nothing else, except an antique sideboard by the window. | ||
| CF | | ||
| CF | A tall mahogany door, richly carved, stands proudly in the northwest | ||
| CF | corner of the room. The only other exit is to the east, into the | ||
| CF | dining room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sofa" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X SOFA | ||
| CF | | ||
| CF | An old leather sofa, now all tattered and worn. Cerulean, although the | ||
| CF | dust covering makes me want to say "cyanotic". It must have been a | ||
| CF | nice piece of equipment once. | ||
| CF | | ||
| CF | Something white appears between the cushions. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x white" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X WHITE | ||
| CF | | ||
| CF | It looks just like a ceramic flag, perhaps part of an old game. | ||
| CF | | ||
| CF | > | Jacqueline says, "Ah. Mahogany. The most popular wood in all of interactive fiction." | |
| DavidW says (to ClubFloyd), "take it" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > TAKE IT | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x it" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X IT | ||
| CF | | ||
| CF | It looks just like a ceramic flag, perhaps part of an old game. | ||
| CF | | ||
| CF | > | DavidW says, "indeed" | |
| DavidW says (to ClubFloyd), "x sideboard" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X SIDEBOARD | ||
| CF | | ||
| CF | It is an ancient series of now empty shelves held together by hope. | ||
| CF | | ||
| CF | On the lower one an old cross-stitch embroidery has been abandoned. | ||
| CF | | ||
| CF | > | Jacqueline says, "Ha. And something cerulean. Marco's pulling out all the classics." | |
| DavidW says (to ClubFloyd), "x cross-stitch" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X CROSS-STITCH | ||
| CF | | ||
| CF | It depicts a girl in traditional dress holding a bleeding heart. An | ||
| CF | embroidered inscription identifies her as The Bonnie Lass o' Fyvie. | ||
| CF | Someone has written some sort of song on the canvas: | ||
| CF | | ||
| CF | Ever fair she stood, | ||
| CF | ---Eyes cast far away, | ||
| CF | Castle walls so old, | ||
| CF | At the break of day. | ||
| CF | | ||
| CF | Fell a soldier's heart, | ||
| CF | Gone with love's first glance, | ||
| CF | Castle bound in silence, | ||
| CF | Echoes of romance. | ||
| CF | | ||
| CF | > | Jacqueline says, "(The writing is generally very good, though. Don't let my little nudges imply otherwise.)" | |
| Jacqueline says, "I expect nothing but good writing from Mr. Marco." | ||
| DavidW says, "The first letters are musical notes." | ||
| Jacqueline says, "Yeah." | ||
| Jacqueline says, "I wonder if the --- is important." | ||
| DavidW says, "I'm guessing already that this region's theme is music." | ||
| Doug has arrived. | Jacqueline says, "Yo, Doug." | |
| Doug says, "hiya!" | ||
| DavidW says (to ClubFloyd), "take it" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > TAKE IT | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x window" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X WINDOW | ||
| CF | | ||
| CF | The countryside outside is lush. It doesn't feel like October at all. | ||
| CF | The trees are still largely green. A beautiful oxymoron in our time, | ||
| CF | where red is the only color that exists. | ||
| CF | | ||
| CF | > | DavidW says, "hi Doug. Notes from last week at at [LINK]" | |
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | The door is a miracle of inlays. Two shutters, each covered with very | ||
| CF | fine and intricate bas-reliefs. On the left one a figure on horseback, | ||
| CF | on the right one a foot soldier with a shield. | ||
| CF | | ||
| CF | There are no handles, nor any obvious means of operating it. I can | ||
| CF | tell it's a door only because, from the other side, comes the | ||
| CF | repetitive noise of something playing in the emptiness of a room that | ||
| CF | must be very large. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x left" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X LEFT | ||
| CF | | ||
| CF | This is a very elaborate inlay. The man on horseback is pointing a | ||
| CF | hand in front of him, as if offering something. It seems like a piece | ||
| CF | is missing, because there is a small depression in the hand. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x depression" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X DEPRESSION | ||
| CF | | ||
| CF | This is a very elaborate inlay. The man on horseback is pointing a | ||
| CF | hand in front of him, as if offering something. It seems like a piece | ||
| CF | is missing, because there is a small depression in the hand. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x right" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > X RIGHT | ||
| CF | | ||
| CF | This is a very elaborate inlay. The infantryman is defending a | ||
| CF | position, shield in hand and all. Something seems to be missing: a | ||
| CF | small slot on the side is empty. | ||
| CF | | ||
| CF | > | Jacqueline says, "Inlay implies maybe something is a button or a secret switch." | |
| Jacqueline says, "Or that slot, yeah." | ||
| DavidW says, "I assume the pin in the embers is one of the insertables here." | ||
| Jacqueline says, "Makes sense." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] GRAND LIVINGES | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | The only exit is east to the dining hall. | ||
| CF | | ||
| CF | > | Jacqueline says, "Gotta get it out of there." | |
| Jacqueline says, "BRB (might be 2-3 min, but just keep going)" | ||
| DavidW says, "well, unless I'm expected to pee on them, I need a bucket of water." | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] DINING HALLGES | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | I can also see a brass pin here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x stain" | ||
| CF ] [UK] DINING HALLGES | ||
| CF | | ||
| CF | > X STAIN | ||
| CF | | ||
| CF | A sprawling stain, as if from humidity, which from the center has | ||
| CF | spread over a large part of the wall. It is the color of blood. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "knock stain" | ||
| CF ] [UK] DINING HALLGES | ||
| CF | | ||
| CF | > KNOCK STAIN | ||
| CF | | ||
| CF | There's no answer. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] DINING HALLGES | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | The exits are to the west and south. A staircase leads to the upper | ||
| CF | floor. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | An animal slinks quickly between the trees. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x fresco" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > X FRESCO | ||
| CF | | ||
| CF | The fresco depicts a rural scene without much detail, intertwined with | ||
| CF | a geometric design: 5 horizontal lines are drawn equidistant from the | ||
| CF | floor to the ceiling. Each line and each space between is sequentially | ||
| CF | identified by a letter, from the E at the bottom to the F, with the | ||
| CF | sequence resetting from about halfway: E-F-G/A-B-C-D-E-F. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x e" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > X E | ||
| CF | | ||
| CF | A look in that direction reveals nothing new. | ||
| CF | | ||
| CF | The wind enters the entrance lightly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x f" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > X F | ||
| CF | | ||
| CF | It's just a drawing on the wall. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push f" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > PUSH F | ||
| CF | | ||
| CF | No secret mechanism. It's just here for decoration. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x hinges" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > X HINGES | ||
| CF | | ||
| CF | The gate is no longer there at all. A sinister but splendid metaphor | ||
| CF | for what happened up here, when the doors were left open with no | ||
| CF | regard for what beasts might enter... and in the end the entrance | ||
| CF | remained open forever. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tree" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > X TREE | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x trees" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > X TREES | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] ENTRANCE HALLS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | I can exit to the south or go back in to the north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | Maksim Gromov, 32 years in the outskirts of a Berlin stripped to the | ||
| CF | bone by the bizarre welfare of Todesengel, then bombed by the Soviets | ||
| CF | and reduced to a smoky field of debris with no history, in a rainy | ||
| CF | night that has been going on forever--and suddenly I go out into the | ||
| CF | open and we are in a Tolkienian fairy tale, among colors I have never | ||
| CF | seen and sounds I could not invent myself. | ||
| CF | | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. They are beyond my powers of | ||
| CF | abstraction, beyond the tales of the old men, beyond me. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | A large wild cat that is wandering around the garden sees me and | ||
| CF | approaches me slyly. | ||
| CF | | ||
| CF | > | Jacqueline says, "I am back, and unfortunately I misread 'I'm expected to pee on them' as 'I'm not excited to pee on them' and that was an interesting moment for me." | |
| Jacqueline says (to ClubFloyd), "x cat" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X CAT | ||
| CF | | ||
| CF | A common gray cat, like the ones I sometimes find gaunt and feeble | ||
| CF | among the ruins of Berlin. This one looks pretty fit. | ||
| CF | | ||
| CF | A light wind whistles through the trees. | ||
| CF | | ||
| CF | > | DavidW says, "This fountain could be a source of water to douse the embers with." | |
| Roger says, "agreed" | ||
| Jacqueline nods. | ||
| DavidW says, "Although, I worry the embers might be need to make fire with as well." | ||
| DavidW says (to ClubFloyd), "x fountain" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X FOUNTAIN | ||
| CF | | ||
| CF | The large stone fountain consists of a statue of a crouching woman | ||
| CF | holding a lyre and, underneath, a basin filled with colorful fish. | ||
| CF | | ||
| CF | > | Roger says, "maybe pokery really is the answer, although it didn't work immediately" | |
| Roger says, "fishing minigame, nice" | ||
| DavidW says, "lyre was on the jigsaw" | ||
| Jacqueline says, "There is a Waterhouse painting that is not dissimilar to that fountain description." | ||
| DavidW says (to ClubFloyd), "x fish" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X FISH | ||
| CF | | ||
| CF | I don't know what fish it is, but it looks like the same color as the | ||
| CF | trees. A bright color, like I've never seen before. | ||
| CF | | ||
| CF | Birds I cannot see sing songs I have never heard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take fish" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > TAKE FISH | ||
| CF | | ||
| CF | Fish are too fast. If I really want one I need to find a more creative | ||
| CF | way to catch it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x lyre" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X LYRE | ||
| CF | | ||
| CF | The lyre is an integral part of the statue. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x woman" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X WOMAN | ||
| CF | | ||
| CF | The woman is kneeling, her right hand extended with the palm upwards, | ||
| CF | as if to hold a serving dish. In the other she holds a lyre, tucked | ||
| CF | under her arm. A brass plaque reads THE LASS O' FYVIE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put cross-stitch on hand" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > PUT CROSS-STITCH ON HAND | ||
| CF | | ||
| CF | The statue's only support is its right hand, and an object on it could | ||
| CF | slip into the tub. I prefer to postpone the matter until I have | ||
| CF | clearer ideas. | ||
| CF | | ||
| CF | > | Jacqueline says, "Ah. The music." | |
| Jacqueline says, "EECA FGCE" | ||
| Jacqueline asks, "The lyre is not real, right? It's stone?" | ||
| DavidW says, "play lyre" | ||
| DavidW says (to ClubFloyd), "play lyre" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > PLAY LYRE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | DavidW says, "it's stone, yes" | |
| DavidW says (to ClubFloyd), "take lyre" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > TAKE LYRE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | The fish splash in the basin. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to cat" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > TALK TO CAT | ||
| CF | | ||
| CF | "Kitty cat, kitty cat." He barely notices me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x trees" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X TREES | ||
| CF | | ||
| CF | Trees of every kind, of every color, that act as a screen--I know the | ||
| CF | truth, it is dangerous to deny it--to the outside world. Green and | ||
| CF | yellow and blue against the gray and black of repression, of | ||
| CF | single-thought, of war in the alleys, in the houses, in our rooms. It | ||
| CF | is a cocoon, and I feel like I am being reborn inside it. | ||
| CF | | ||
| CF | > | DavidW says, "we may need to find a specific tree, like a book in a library." | |
| DavidW says (to ClubFloyd), "drink water" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > DRINK WATER | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x water" | ||
| CF ] [UK] HUMBLE GREENERY | ||
| CF | | ||
| CF | > X WATER | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | Jacqueline says, "That last passage about the trees was beautiful." | |
| DavidW says, "hm. perhaps the fountain isn't a water source." | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | The cat follows me. | ||
| CF | | ||
| CF | [UK] LIMIT OF HEAVENS | ||
| CF | The paradise I had imagined ends here. The trees grow sparser, and the | ||
| CF | grim world looms through the foliage. In every direction, except to | ||
| CF | the northeast where the castle is, I can glimpse the collapse of | ||
| CF | civilization, the end of the British Empire. Ruins, as of a world | ||
| CF | buried millennia ago. | ||
| CF | | ||
| CF | The ground is littered with half-rotten apples that have fallen from | ||
| CF | the trees. | ||
| CF | | ||
| CF | The cat is trying to chase his tail. | ||
| CF | | ||
| CF | Half hidden behind a tree, a man tries to get my attention. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x apples" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > X APPLES | ||
| CF | | ||
| CF | They are in tatters, scattered everywhere. Still edible, and I could | ||
| CF | pick some, even if I don't really want to taste one. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x man" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > X MAN | ||
| CF | | ||
| CF | Someone like me, without a uniform but with the uniform on his face, | ||
| CF | the insignia are the years in Gvardiya worn instead of wrinkles, the | ||
| CF | creases in the soul as well as in the dress. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to man" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > TALK TO MAN | ||
| CF | | ||
| CF | I approach the figure cautiously. It takes me little time, once within | ||
| CF | range, to identify him for what he is: a survivor of something I don't | ||
| CF | want to imagine. Someone like me. | ||
| CF | | ||
| CF | "Who are you," I ask calmly. "What are you doing hiding here?" | ||
| CF | | ||
| CF | His laughter wakes me up like a cannon shot. "Who AM I?" he chuckles. | ||
| CF | "Maksim Gromov, at your SERVICE, Maksim Gromov!" | ||
| CF | | ||
| CF | When he moves from behind the tree I realize he only has one arm: the | ||
| CF | empty sleeve flutters like a lowered flag. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | He notices me looking for his missing arm and lets out another strange | ||
| CF | laughter, this time much like scratching on a chalkboard. "This?" he | ||
| CF | says, pointing to the useless sleeve. "A gift for my stubbornness. I | ||
| CF | wouldn't TALK, ME, so MERRY CHRISTMAS. Or, NAH, they don't like | ||
| CF | Christ. They say 'Novyy god'. NOVYY GOD to you, comrade!" | ||
| CF | | ||
| CF | "They got you," I say, stating the obvious. | ||
| CF | | ||
| CF | "Oh, yes, they got me. They KNEW WHERE I WAS, can you believe it?" | ||
| CF | | ||
| CF | I need to look into this further. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | "How did they catch you?" | ||
| CF | | ||
| CF | He doesn't pay attention to me. "Did they tell you about the Parni?" | ||
| CF | he asks. Then he looks over his shoulder, left and right: a nice | ||
| CF | poultice of paranoia. | ||
| CF | | ||
| CF | I nod. | ||
| CF | | ||
| CF | "And, tell me, are these PARNI in the room with us now? Or are they a | ||
| CF | mound of bullshit and are they just sending us to be tortured and | ||
| CF | killed because we are a coven of SICK people? Stalnaya Gvardiya, | ||
| CF | Stalnaya Gvardiya. The Iron Guard. Oh yeah, oh YES. The Parni... | ||
| CF | heee-heee-ee." | ||
| CF | | ||
| CF | Something in his remaining hand glistens in the light like an exposed | ||
| CF | bone. Again, he notices me watching him. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | "Do you want this?" He taunts me, showing me what he's holding. It's | ||
| CF | some kind of small ivory sword, a miniature object. "Well, THAT'S not | ||
| CF | why I lost my arm. So you can take it. But BE CAREFUL, Gromov. They | ||
| CF | know where we are. They know it all the time. They watch us with the | ||
| CF | mirrors and measure our every step." | ||
| CF | | ||
| CF | My surprised face doesn't faze him one bit. "Them? You mean the | ||
| CF | Gvardiya?" | ||
| CF | | ||
| CF | Another horrible laugh: "THEM, Gromov. The SOVIET. With all their | ||
| CF | mirrors. Heee-hee!" | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "g" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > G | ||
| CF | | ||
| CF | I step back. This doesn't make sense. "Mirrors? What are you talking | ||
| CF | about?" I try to remember if I've seen mirrors around somewhere, but I | ||
| CF | don't think so. | ||
| CF | | ||
| CF | "Oh, by the holy shadow with the hat, Gromov, you sure don't | ||
| CF | understand shit. MIRRORS: their fucking moles. The Gvardiya isn't so | ||
| CF | much IRON, you know? We've been contaminated. Nothing we do is a | ||
| CF | secret anymore: they know everything. And good luck finding your Boys | ||
| CF | from the East. They've probably already reduced them to--" | ||
| CF | | ||
| CF | But something catches his attention. Maybe a rustling in the trees, | ||
| CF | maybe just a schizoid twitch, whatever it is it seems to take the red | ||
| CF | out of his blood: with a final cry halfway between laughter and horror | ||
| CF | he finally disappears beyond the edge of the garden. | ||
| CF | | ||
| CF | In his frantic escape, the object he was carrying with him falls from | ||
| CF | his hand and lands among the rotten apples. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take sword" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > TAKE SWORD | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take apple" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > TAKE APPLE | ||
| CF | | ||
| CF | I take one of the apples. I have no idea why--they're all half | ||
| CF | rotten--but someone might like it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying an apple, an ivory sword miniature, a cross-stitch | ||
| CF | embroidery, a white ceramic miniature flag, a poker and a Revenge by | ||
| CF | Eurythmics vinyl record. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sword" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > X SWORD | ||
| CF | | ||
| CF | It looks just like an ivory sword, perhaps part of an old game. | ||
| CF | | ||
| CF | > | Roger says, "maybe some Eurythmics would cheer him up" | |
| DavidW says (to ClubFloyd), "x ruins" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > X RUINS | ||
| CF | | ||
| CF | It's gray. It's mostly rubble. It smells of suppression. It has the | ||
| CF | sound of the End. In short, the same old story, which only my naive | ||
| CF | being could imagine differently. | ||
| CF | | ||
| CF | > | DavidW says, "There was a SE path from the fountain." | |
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | The cat follows me. | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | The big cat is rubbing against my legs. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put apple on right hand" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > PUT APPLE ON RIGHT HAND | ||
| CF | | ||
| CF | As soon as I place the apple in the statue's open hand, the movement | ||
| CF | in the tank becomes frenetic: the fish, stimulated by the sight of | ||
| CF | food, boils like water on fire. After a few moments, one of the | ||
| CF | largest fish jumps out of the tank and grabs the apple in flight, but | ||
| CF | in doing so it lands outside the tank, directly on the lawn. | ||
| CF | | ||
| CF | I barely have time to feel sorry for it and move closer to put it back | ||
| CF | in his place when the wildcat gets there first and grabs the fish in | ||
| CF | his teeth. They both then disappear into the woods, in the gray and | ||
| CF | crimson glow of their liveries. | ||
| CF | | ||
| CF | > | Roger says, "well okay" | |
| Jacqueline says, "yeah" | ||
| DavidW says, "That didn't seem to help us any, at least not yet." | ||
| DavidW says (to ClubFloyd), "x fish" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > X FISH | ||
| CF | | ||
| CF | I don't know what fish it is, but it looks like the same color as the | ||
| CF | trees. A bright color, like I've never seen before. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x apple" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > X APPLE | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [UK] CLOSED WOODS | ||
| CF | The forest around here is becoming so thick as to be impenetrable, | ||
| CF | except to the northwest toward the castle. The trees, all tall and | ||
| CF | lush, are losing their leaves, and these are forming a warm and | ||
| CF | colorful carpet. One of the trees has a very low branch, on which a | ||
| CF | brown squirrel plays. | ||
| CF | | ||
| CF | The squirrel is playing with a small object in his hand. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x squirrel" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > X SQUIRREL | ||
| CF | | ||
| CF | A very cute creature, which until now I have only had the opportunity | ||
| CF | to see in books. | ||
| CF | | ||
| CF | He's playing with a strange object, like a microscopic musical | ||
| CF | instrument, which he cannot gnaw because it is too hard. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x leaves" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > X LEAVES | ||
| CF | | ||
| CF | The colors are amazing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search leaves" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > SEARCH LEAVES | ||
| CF | | ||
| CF | If there is anything, it is too well hidden, under all the foliage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "count leaves" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > COUNT LEAVES | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x trees" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > X TREES | ||
| CF | | ||
| CF | There is a nice sense of peace here, given by the imposing forest. I | ||
| CF | feel... protected, a feeling I am not used to. | ||
| CF | | ||
| CF | The wind rustles through the trees. | ||
| CF | | ||
| CF | > | Jacqueline says, "c'mon, David--" | |
| Jacqueline says, "Okay, I was going to say, "You know you want to."" | ||
| Jacqueline says, "But then you counted them before I could type it out." | ||
| DavidW says, "oh" | ||
| Jacqueline laughs. | ||
| DavidW says, "I was wondering where to find an acorn. Perhaps there's an oak back at the fountain." | ||
| DavidW says (to ClubFloyd), "x oak" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > X OAK | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x oak" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > X OAK | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | A light wind whistles through the trees. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x acorn" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > X ACORN | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | A wild animal runs quickly through the fresh grass and disappears into | ||
| CF | the woods. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [UK] CLOSED WOODS | ||
| CF | The forest around here is becoming so thick as to be impenetrable, | ||
| CF | except to the northwest toward the castle. The trees, all tall and | ||
| CF | lush, are losing their leaves, and these are forming a warm and | ||
| CF | colorful carpet. One of the trees has a very low branch, on which a | ||
| CF | brown squirrel plays. | ||
| CF | | ||
| CF | The squirrel is playing with a small object in his hand. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to squirrel" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > TALK TO SQUIRREL | ||
| CF | | ||
| CF | I don't know how to talk to a squirrel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying an ivory sword miniature, a cross-stitch embroidery, a | ||
| CF | white ceramic miniature flag, a poker and a Revenge by Eurythmics | ||
| CF | vinyl record. | ||
| CF | | ||
| CF | The wind rustles through the trees. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "climb tree" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > CLIMB TREE | ||
| CF | | ||
| CF | I would scare the squirrel. And I'm not a climber anyway. | ||
| CF | | ||
| CF | > | DavidW asks, "Fetch another apple? Do squirrels like apples?" | |
| Jacqueline says, "I do not know that they do." | ||
| Jacqueline says, "But it wouldn't hurt to try." | ||
| Roger says, "maybe" | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | The only path not blocked by trees is the one leading northwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [UK] LIMIT OF HEAVENS | ||
| CF | The trees grow sparser, and the grim world looms through the foliage. | ||
| CF | In every direction, except to the northeast where the castle is, I can | ||
| CF | glimpse the collapse of civilization, the end of the British Empire. | ||
| CF | Ruins, as of a world buried millennia ago. | ||
| CF | | ||
| CF | The ground is littered with half-rotten apples that have fallen from | ||
| CF | the trees. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take apple" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > TAKE APPLE | ||
| CF | | ||
| CF | I take one of the apples. I have no idea why--they're all half | ||
| CF | rotten--but someone might like it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [UK] CLOSED WOODS | ||
| CF | The forest around here is becoming so thick as to be impenetrable, | ||
| CF | except to the northwest toward the castle. The trees, all tall and | ||
| CF | lush, are losing their leaves, and these are forming a warm and | ||
| CF | colorful carpet. One of the trees has a very low branch, on which a | ||
| CF | brown squirrel plays. | ||
| CF | | ||
| CF | The squirrel is playing with a small object in his hand. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "give apple" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > GIVE APPLE | ||
| CF | | ||
| CF | I think you wanted to say "give apple to someone". Please try again. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Drop it?" | |
| DavidW says (to ClubFloyd), "give apple to squirrel" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > GIVE APPLE TO SQUIRREL | ||
| CF | | ||
| CF | The squirrel hops toward me, happy for some free food. When he is | ||
| CF | close enough he slows down, as if struck by a Hamlet-like doubt. In | ||
| CF | the end, however, the fasting was more than the game and so he pounces | ||
| CF | on the apple, snatching it from my hand and dropping the object he was | ||
| CF | playing with. Finally, with a leap and the prey in his claws, he | ||
| CF | returns to the branch to enjoy his snack. | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh." | |
| Roger says, "woo" | ||
| Jacqueline says, "yay" | ||
| Roger says, "also maybe we can get another fish now" | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [UK] CLOSED WOODS | ||
| CF | The forest around here is becoming so thick as to be impenetrable, | ||
| CF | except to the northwest toward the castle. The trees, all tall and | ||
| CF | lush, are losing their leaves, and these are forming a warm and | ||
| CF | colorful carpet. One of the trees has a very low branch, on which a | ||
| CF | brown squirrel plays. | ||
| CF | | ||
| CF | Among the leaves on the floor the squirrel lost an ivory tile. | ||
| CF | | ||
| CF | The squirrel happily gnaws on his apple. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take tile" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > TAKE TILE | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x it" | ||
| CF ] [UK] CLOSED WOODSERYS | ||
| CF | | ||
| CF | > X IT | ||
| CF | | ||
| CF | It is an ivory mosaic tile representing a lyre. The strings are very | ||
| CF | thin. | ||
| CF | | ||
| CF | > | Jacqueline says, "ooh" | |
| Roger says, "let me play you a sad song on the world's smallest lyre" | ||
| Jacqueline says, "haha" | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | I can also see a brass pin here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push pin" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > PUSH PIN | ||
| CF | | ||
| CF | I try to catch the pin, but it's too deep in the hot coals. It's too | ||
| CF | hot. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "poke pin" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > POKE PIN | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "move embers with poker" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > MOVE EMBERS WITH POKER | ||
| CF | | ||
| CF | With the help of the poker I manage to dig into the embers and pull | ||
| CF | out the pin. After a few moments it is already cold and I can pick it | ||
| CF | up. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take pin" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > TAKE PIN | ||
| CF | | ||
| CF | I already have it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x pin" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > X PIN | ||
| CF | | ||
| CF | A small brass pin, without any special workmanship. It has a square | ||
| CF | section. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put tile in jigsaw" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > PUT TILE IN JIGSAW | ||
| CF | | ||
| CF | The lyre shaped tile fits perfectly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x jigsaw" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > X JIGSAW | ||
| CF | | ||
| CF | The jigsaw is at least two square meters. It represents an unusual | ||
| CF | hunting scene, where knights on horseback are pointing their lances at | ||
| CF | musical instruments of all kinds. The three most prominent | ||
| CF | accommodations are vaguely shaped like a viola, an organ, and a lyre. | ||
| CF | | ||
| CF | The jigsaw now contains: | ||
| CF | - the lyre shaped tile | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] GRAND LIVINGLRYS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [UK] GRAND LIVING | ||
| CF | The large living room has been ransacked and is practically empty. A | ||
| CF | single sofa, now devastated, miraculously stands in the center of the | ||
| CF | room. Nothing else, except an antique sideboard by the window. | ||
| CF | | ||
| CF | A tall mahogany door, richly carved, stands proudly in the northwest | ||
| CF | corner of the room. The only other exit is to the east, into the | ||
| CF | dining room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [UK] GRAND LIVINGLRYS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a brass pin, an ivory sword miniature, a cross-stitch | ||
| CF | embroidery, a white ceramic miniature flag, a poker and a Revenge by | ||
| CF | Eurythmics vinyl record. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put flag in indentation" | ||
| CF ] [UK] GRAND LIVINGLRYS | ||
| CF | | ||
| CF | > PUT FLAG IN INDENTATION | ||
| CF | | ||
| CF | I think you wanted to say "put white ceramic miniature flag in white | ||
| CF | ceramic miniature flag". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put flag in left" | ||
| CF ] [UK] GRAND LIVINGLRYS | ||
| CF | | ||
| CF | > PUT FLAG IN LEFT | ||
| CF | | ||
| CF | The flag fits perfectly into the housing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put sword in right" | ||
| CF ] [UK] GRAND LIVINGLRYS | ||
| CF | | ||
| CF | > PUT SWORD IN RIGHT | ||
| CF | | ||
| CF | The sword fits perfectly into the housing. | ||
| CF | | ||
| CF | As I put the sword in place, something inside the door clicks and the | ||
| CF | two shutters slowly retract into the wall, opening the passage to the | ||
| CF | northwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK] SINGING TOWER | ||
| CF | The vast chamber is mainly vertical, forming a square-based tower. | ||
| CF | Cables and ropes rise towards the ceiling, which is unreachable from | ||
| CF | here. The only exit is to the southeast. | ||
| CF | | ||
| CF | The cables are evidently pulled from a device in the center of the | ||
| CF | room which, following a programmed sequence, activates bells above the | ||
| CF | ceiling and creates a harmonious melody. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x device" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X DEVICE | ||
| CF | | ||
| CF | It is a cube, more or less, with the beauty of no external detail, | ||
| CF | apart from two conspicuous features: on the upper part, between the | ||
| CF | holes for the cables, a large button; on the left side a wide slot. | ||
| CF | | ||
| CF | On the front, someone has engraved the initial verses of a Gregorian | ||
| CF | Chant. | ||
| CF | | ||
| CF | > | ||
| Jade has arrived. | Jade says, "hello" | |
| DavidW says, "hi Jade" | ||
| DavidW says, "We're continuing A Train to Piccadilly" | ||
| Jacqueline says, "Heya, Jade." | ||
| DavidW says (to ClubFloyd), "x verses" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X VERSES | ||
| CF | | ||
| CF | "Ut queant laxis/ Resonare fibris/ Mira gestorum..." It is the hymn | ||
| CF | dedicated to St. John the Baptist, if I remember correctly, used by a | ||
| CF | certain Italian friar to teach notes to his students. The first | ||
| CF | letters of each verse are equivalent to the note sung, in Latin | ||
| CF | notation: Ut (later Do), Re, Mi, etc. | ||
| CF | | ||
| CF | In the end, compulsory schooling, among the many hours lost learning | ||
| CF | the names of the Soldats, left me with something... useful. Somewhat. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x button" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | There is nothing special about the large button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x slot" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X SLOT | ||
| CF | | ||
| CF | It is a slot about ten centimetres wide, from which a piece of | ||
| CF | plasticised paper emerges. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x paper" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X PAPER | ||
| CF | | ||
| CF | It's a piece of paper. I can't say more at the moment because most of | ||
| CF | it is hidden in the slot. | ||
| CF | | ||
| CF | > | Roger says, "I guess we singing now" | |
| DavidW says (to ClubFloyd), "take paper" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > TAKE PAPER | ||
| CF | | ||
| CF | I try to pull it, but it's stuck firmly. I should probably be able to | ||
| CF | get it with the device turned off. | ||
| CF | | ||
| CF | > | Jacqueline says, "Can we-- okay, no." | |
| Roger says, "maybe the button is a power button" | ||
| DavidW asks (of Roger), "We sing the notes?" | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | The button stops the melody. Unfortunately, it is not a switch, so as | ||
| CF | soon as I let go of it, everything quickly resumes. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "listen" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > LISTEN | ||
| CF | | ||
| CF | The bells play a very slow melody, each chime five or six seconds | ||
| CF | apart. It seems like very complex music, and I can't decipher the | ||
| CF | pattern. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sing E" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > SING E | ||
| CF | | ||
| CF | I think you wanted to say "sing". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sing" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > SING | ||
| CF | | ||
| CF | I'm not sure I know what a song is anymore. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x ropes" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X ROPES | ||
| CF | | ||
| CF | There are dozens of cables, each one starting from the device in front | ||
| CF | of me and rising until it disappears into the ceiling. Every now and | ||
| CF | then one of these moves, pulled like the strings of a piano, and a | ||
| CF | sound reverberates in the chamber. | ||
| CF | | ||
| CF | > | DavidW says, "I suppose if something heavy was put on the button, we could take the paper." | |
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a brass pin, a cross-stitch embroidery, a poker and a | ||
| CF | Revenge by Eurythmics vinyl record. | ||
| CF | | ||
| CF | > | Jacqueline asks, "The... poker?" | |
| DavidW says (to ClubFloyd), "put poker on button" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > PUT POKER ON BUTTON | ||
| CF | | ||
| CF | There's no way to keep it balanced... | ||
| CF | | ||
| CF | > | Jade says, "I realize this is ATTP couse I tested this great game." | |
| DavidW says, "okay, right approach, wrong item." | ||
| DavidW says (to ClubFloyd), "sit on button" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > SIT ON BUTTON | ||
| CF | | ||
| CF | I can't enter that. | ||
| CF | | ||
| CF | > | Roger says, "good old rotten apple; nothing beats rotten apple" | |
| DavidW says, "sure" | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [UK] GRAND LIVINGRRYS | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [UK] GRAND LIVING | ||
| CF | The large living room has been ransacked and is practically empty. A | ||
| CF | single sofa, now devastated, miraculously stands in the center of the | ||
| CF | room. Nothing else, except an antique sideboard by the window. | ||
| CF | | ||
| CF | A large doorway is open in the northwest corner of the room. The only | ||
| CF | other exit is to the east, into the dining room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] DINING HALLGRRYS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [UK] LIMIT OF HEAVENS | ||
| CF | The trees grow sparser, and the grim world looms through the foliage. | ||
| CF | In every direction, except to the northeast where the castle is, I can | ||
| CF | glimpse the collapse of civilization, the end of the British Empire. | ||
| CF | Ruins, as of a world buried millennia ago. | ||
| CF | | ||
| CF | The ground is littered with half-rotten apples that have fallen from | ||
| CF | the trees. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take apple" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > TAKE APPLE | ||
| CF | | ||
| CF | I take one of the apples. I have no idea why--they're all half | ||
| CF | rotten--but someone might like it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | Jade says, "This is the easier zone." | |
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] GRAND LIVINGLRYS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [UK] GRAND LIVING | ||
| CF | The large living room has been ransacked and is practically empty. A | ||
| CF | single sofa, now devastated, miraculously stands in the center of the | ||
| CF | room. Nothing else, except an antique sideboard by the window. | ||
| CF | | ||
| CF | A large doorway is open in the northwest corner of the room. The only | ||
| CF | other exit is to the east, into the dining room. | ||
| CF | | ||
| CF | > | Jacqueline says (to Jade), "Greeeeaaaaat." | |
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK] SINGING TOWER | ||
| CF | The vast chamber is mainly vertical, forming a square-based tower. | ||
| CF | Cables and ropes rise towards the ceiling, which is unreachable from | ||
| CF | here. The only exit is to the southeast. | ||
| CF | | ||
| CF | The cables are evidently pulled from a device in the center of the | ||
| CF | room which, following a programmed sequence, activates bells above the | ||
| CF | ceiling and creates a harmonious melody. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put apple on button" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > PUT APPLE ON BUTTON | ||
| CF | | ||
| CF | Small and round, with a clear center of gravity. Maybe too light | ||
| CF | though... but yes, it works. I don't know how long it will stay in | ||
| CF | place, though. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take paper" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > TAKE PAPER | ||
| CF | | ||
| CF | Now that the device is stopped, the piece of paper comes out no | ||
| CF | problem. It is, in fact, a punch card. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x card" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > X CARD | ||
| CF | | ||
| CF | It is a punched card, like those used to provide information to | ||
| CF | mechanical computers. | ||
| CF | | ||
| CF | The apple slides to the ground and releases the music again. | ||
| CF | | ||
| CF | > | Roger says, "haha this pleases me" | |
| DavidW says (to ClubFloyd), "read card" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > READ CARD | ||
| CF | | ||
| CF | It is a punched card, like those used to provide information to | ||
| CF | mechanical computers. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take apple" | ||
| CF ] [UK] SINGING TOWERRYS | ||
| CF | | ||
| CF | > TAKE APPLE | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | DavidW asks, "Break the column with the poker?" | |
| DavidW asks, "Or the stain?" | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [UK] GRAND LIVINGRRYS | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [UK] GRAND LIVING | ||
| CF | The large living room has been ransacked and is practically empty. A | ||
| CF | single sofa, now devastated, miraculously stands in the center of the | ||
| CF | room. Nothing else, except an antique sideboard by the window. | ||
| CF | | ||
| CF | A large doorway is open in the northwest corner of the room. The only | ||
| CF | other exit is to the east, into the dining room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] DINING HALLGRRYS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "break stain" | ||
| CF ] [UK] DINING HALLGRRYS | ||
| CF | | ||
| CF | > BREAK STAIN | ||
| CF | | ||
| CF | Violence isn't the answer to this one. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit stain with poker" | ||
| CF ] [UK] DINING HALLGRRYS | ||
| CF | | ||
| CF | > HIT STAIN WITH POKER | ||
| CF | | ||
| CF | Violence isn't the answer to this one. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push stain" | ||
| CF ] [UK] DINING HALLGRRYS | ||
| CF | | ||
| CF | > PUSH STAIN | ||
| CF | | ||
| CF | That's fixed in place. | ||
| CF | | ||
| CF | > | Roger says, "oh maybe the card is like the input to a player-piano sort of device" | |
| Jacqueline says (to Roger), "That's what I was thinking." | ||
| DavidW says, "sure, but I haven't seen one yet." | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | [UK] WEEPING STONES | ||
| CF | The large staircase spiraling up and down is composed of extraordinary | ||
| CF | steps of pink stone, covered with marble of the same color: nine | ||
| CF | segments that bloom from a central column, also in stone. Below, the | ||
| CF | light rises in the vertical chamber, blurred but powerful like an | ||
| CF | enormous cotton flower. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit column" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > HIT COLUMN | ||
| CF | | ||
| CF | Obviously the battle against the stone would have only one winner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit column with poker" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > HIT COLUMN WITH POKER | ||
| CF | | ||
| CF | Obviously the battle against the stone would have only one winner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x niche" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > X NICHE | ||
| CF | | ||
| CF | The central column has no particular features, but in its center a | ||
| CF | niche appears to have been walled up a long time ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "break niche with poekr" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > BREAK NICHE WITH POEKR | ||
| CF | | ||
| CF | I don't understand that sentence. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "break niche with poker" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > BREAK NICHE WITH POKER | ||
| CF | | ||
| CF | Obviously the battle against the stone would have only one winner. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | As I descend the steps, they make muffled sounds. When I step off of | ||
| CF | the last one, there's a mechanical whine, like gears resetting. | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the east wall a sprawling rust-coloured stain has formed. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull horn" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > PULL HORN | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull horns" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > PULL HORNS | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x pin" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > X PIN | ||
| CF | | ||
| CF | A small brass pin, without any special workmanship. It has a square | ||
| CF | section. | ||
| CF | | ||
| CF | > | DavidW asks, "Any idea what this pin is for?" | |
| Roger says, "my unsupported hunch is a grenade somewhere" | ||
| DavidW says, "oh" | ||
| Roger says, "I've sort of lost track of all the various things that have holes and slots and indentations though" | ||
| DavidW says, "That sounds plausible to me" | ||
| DavidW says (to ClubFloyd), "x fireplace" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > X FIREPLACE | ||
| CF | | ||
| CF | The fireplace mouth is almost two meters wide, surmounted by a | ||
| CF | bas-relief in golden stone and surrounded by two prominent wooden | ||
| CF | panels. | ||
| CF | | ||
| CF | There still seems to be a mound of embers in the fireplace, not quite | ||
| CF | out. Someone must have been here not long ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x panels" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > X PANELS | ||
| CF | | ||
| CF | The paneling, though minimal in design--just adjacent rectangles--is | ||
| CF | of noble workmanship. The pieces fit together with disarming quality, | ||
| CF | especially considering they are probably medieval. One of the panels | ||
| CF | appears stained and has a small square hole in the center. | ||
| CF | | ||
| CF | > | Jade says, "The pin, yes" | |
| DavidW says (to ClubFloyd), "put pin in hole" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > PUT PIN IN HOLE | ||
| CF | | ||
| CF | The pin goes in perfectly... but it gets stuck halfway. Something is | ||
| CF | preventing it from going all the way in. | ||
| CF | | ||
| CF | > | Jade says, "it's square section fits somewhere" | |
| DavidW says (to ClubFloyd), "open panel" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > OPEN PANEL | ||
| CF | | ||
| CF | I can't open those. | ||
| CF | | ||
| CF | > | Jade says, "oh, Ther it is" | |
| DavidW says (to ClubFloyd), "push pin" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > PUSH PIN | ||
| CF | | ||
| CF | My hands aren't enough to apply pressure. Something more... intense is | ||
| CF | needed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit pin with apple" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > HIT PIN WITH APPLE | ||
| CF | | ||
| CF | I would open my hand and not get much results. Something more | ||
| CF | resistant than my human skin is needed. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying an apple, a punch card, a cross-stitch embroidery, a | ||
| CF | poker and a Revenge by Eurythmics vinyl record. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit pin with poker" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > HIT PIN WITH POKER | ||
| CF | | ||
| CF | A well-placed blow drives the pin all the way in. After a few seconds, | ||
| CF | a stony, grinding noise makes me turn to the east. The wall is now | ||
| CF | split in two by a black wound, like a snake's pupil, that has opened a | ||
| CF | path to a secret room. | ||
| CF | | ||
| CF | What a spectacular coup de theatre. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [UK] BLOOD CHAMBER | ||
| CF | The shock when I enter the room almost leaves me dead on the floor. | ||
| CF | | ||
| CF | This is a torture chamber. In the solid center is a seat of torment, | ||
| CF | complete with armrests and straps. From it are cables that were once | ||
| CF | supposed to connect to machines that someone quickly made disappear. | ||
| CF | The walls are painted--or so I hope--a dark blood red, in large, | ||
| CF | uneven patches. The only exit, for those who are permitted, is to the | ||
| CF | west. | ||
| CF | | ||
| CF | Near the legs of the chair, someone has forgotten an old diary. | ||
| CF | | ||
| CF | On the east wall an old organ, probably a harpsichord, serves as the | ||
| CF | elephant in the room. | ||
| CF | | ||
| CF | > | Roger says, "kinky" | |
| Jacqueline says, "Yikes." | ||
| DavidW says (to ClubFloyd), "x diary" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > X DIARY | ||
| CF | | ||
| CF | It is a torture diary. There are many pages, and I do not intend to | ||
| CF | leaf through them. On the last two, a list of names, with comments. | ||
| CF | Ominously, the names are always the same: | ||
| CF | | ||
| CF | Maksim Gromov (36), no relevance. DECEASED. | ||
| CF | Maksim Gromov (52), cf. Nemov, L. DECEASED. | ||
| CF | Maksim Gromov (23), possession of rucka (handle), seized. DECEASED. | ||
| CF | Yeseniya Gromov (34), no relevance. DECEASED. | ||
| CF | Maksim Gromov (48), received DECEASED. | ||
| CF | | ||
| CF | There is a woman, Yeseniya. I did not know that the Stalnaya Gvardiya | ||
| CF | had women in its ranks, at least in Gromov's role. But, perhaps, the | ||
| CF | idea that a man can better endure pain, deprivation and fatigue is a | ||
| CF | fairy tale put into our heads by the Regime. Indeed, perhaps women | ||
| CF | have always shown more strength, more resistance. In any case, it | ||
| CF | affects me to read that name, as if it were that of a sister, someone | ||
| CF | I would have liked to protect. | ||
| CF | | ||
| CF | One of the Gromovs was just 23 years old. Long live the Revolution, | ||
| CF | Mitbruder. | ||
| CF | | ||
| CF | > | Roger says, "reminds me of that Kids in the Hall song, These are the Daves I Know" | |
| DavidW says, "I think the diary is telling us there's a rucka (handle) to find." | ||
| DavidW says (to ClubFloyd), "x chair" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > X CHAIR | ||
| CF | | ||
| CF | The sight alone makes me falter. The seat is covered in stains like | ||
| CF | the ones on the walls. Atrocious. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cables" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > X CABLES | ||
| CF | | ||
| CF | Electric cables. I feel faint. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take diary" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > TAKE DIARY | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| Roger says (to f), "sit on chair" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > SIT ON CHAIR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x organ" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > X ORGAN | ||
| CF | | ||
| CF | An old harpsichord, which I can imagine torturers used to buy time in | ||
| CF | the midst of agony. A cruel way of making it clear that there is no | ||
| CF | hurry, my friend, we can stay here as long as you want, even forever. | ||
| CF | | ||
| CF | Above the keyboard is a roller covered in pins, like an old music box. | ||
| CF | | ||
| CF | > | Roger says, "Oh okay" | |
| Roger says, "hurrah" | ||
| DavidW says (to ClubFloyd), "put card in roller" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > PUT CARD IN ROLLER | ||
| CF | | ||
| CF | The punch card seems to be made exactly for the roller on the organ. | ||
| CF | As soon as I insert it, the organ swallows it and a sad melody | ||
| CF | emerges. Les Ombres Errantes, by Francois Couperin--The Walking | ||
| CF | Shadows. I remember it was often played, in middle schools in Berlin, | ||
| CF | and now it is a connection I have no trouble making. Education begins, | ||
| CF | after all, in childhood. Especially in pain. | ||
| CF | | ||
| CF | When the melody ends, a piece from under the harpsichord falls to the | ||
| CF | floor. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x piece" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > X PIECE | ||
| CF | | ||
| CF | It is an ivory mosaic tile representing a pipe organ. The pipes are | ||
| CF | actually hollow. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take piece" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > TAKE PIECE | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "play organ" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > PLAY ORGAN | ||
| CF | | ||
| CF | Do you mean the pipe organ shaped tile or the harpsichord? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "harpsichord" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > HARPSICHORD | ||
| CF | | ||
| CF | I bang on the keys randomly but nothing happens. I've always been | ||
| CF | better at listening to music than playing it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "play e" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > PLAY E | ||
| CF | | ||
| CF | No time for games. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "play eecafgce" | ||
| CF ] [UK] BLOOD CHAMBERSYS | ||
| CF | | ||
| CF | > PLAY EECAFGCE | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] DINING HALLERSYS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put organ in jigsaw" | ||
| CF ] [UK] DINING HALLERSYS | ||
| CF | | ||
| CF | > PUT ORGAN IN JIGSAW | ||
| CF | | ||
| CF | The pipe organ shaped tile fits perfectly. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x jigsaw" | ||
| CF ] [UK] DINING HALLERSYS | ||
| CF | | ||
| CF | > X JIGSAW | ||
| CF | | ||
| CF | The jigsaw is at least two square meters. It represents an unusual | ||
| CF | hunting scene, where knights on horseback are pointing their lances at | ||
| CF | musical instruments of all kinds. The three most prominent | ||
| CF | accommodations are vaguely shaped like a viola, an organ, and a lyre. | ||
| CF | | ||
| CF | The jigsaw now contains: | ||
| CF | - the pipe organ shaped tile | ||
| CF | - the lyre shaped tile | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf18" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [UK] DINING HALLERSYS | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | DavidW says, "I don't remember anything obviously missed." | |
| DavidW asks, "Should we attempt to explore the ruins?" | ||
| DavidW asks, "open the window above the sideboard?" | ||
| DavidW says, "The panels on the fireplace were easy to overlook." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] GRAND LIVINGRSYS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [UK] GRAND LIVING | ||
| CF | The large living room has been ransacked and is practically empty. A | ||
| CF | single sofa, now devastated, miraculously stands in the center of the | ||
| CF | room. Nothing else, except an antique sideboard by the window. | ||
| CF | | ||
| CF | A large doorway is open in the northwest corner of the room. The only | ||
| CF | other exit is to the east, into the dining room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open window" | ||
| CF ] [UK] GRAND LIVINGRSYS | ||
| CF | | ||
| CF | > OPEN WINDOW | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search sofa" | ||
| CF ] [UK] GRAND LIVINGRSYS | ||
| CF | | ||
| CF | > SEARCH SOFA | ||
| CF | | ||
| CF | An old leather sofa, now all tattered and worn. Cerulean, although the | ||
| CF | dust covering makes me want to say "cyanotic". It must have been a | ||
| CF | nice piece of equipment once. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] DINING HALLGRSYS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] ENTRANCE HALLSYS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | Roger says, "heh -- I believe that's an allusion to the blue colour people get in their lips when they're under-oxygenated" | |
| DavidW asks, "oh?" | ||
| Roger says, "cyanotic, I mean. Anyway." | ||
| DavidW says, "oh" | ||
| Roger says, "maybe we can get another fish? Where did that cat get to, anyway" | ||
| DavidW says, "The cat ran off with the fish and hasn't returned." | ||
| Jacqueline says, "Well, if the cat is gone then we might actually get a fish and not have it stolen." | ||
| DavidW says, "true..." | ||
| DavidW says (to ClubFloyd), "put apple on right hand" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > PUT APPLE ON RIGHT HAND | ||
| CF | | ||
| CF | The incident with the cat was enough for me. Better leave the fish | ||
| CF | alone. | ||
| CF | | ||
| CF | > | Jacqueline says, "Ba" | |
| Jacqueline says, "er, Bah" | ||
| DavidW says, "No fish for you!" | ||
| Jacqueline exclaims (at DW), "Come back! Never!" | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [UK] LIMIT OF HEAVENS | ||
| CF | The trees grow sparser, and the grim world looms through the foliage. | ||
| CF | In every direction, except to the northeast where the castle is, I can | ||
| CF | glimpse the collapse of civilization, the end of the British Empire. | ||
| CF | Ruins, as of a world buried millennia ago. | ||
| CF | | ||
| CF | The ground is littered with half-rotten apples that have fallen from | ||
| CF | the trees. | ||
| CF | | ||
| CF | > | Roger says, "do, re, mi, bah" | |
| Jacqueline says, "ha" | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | The only path that makes sense goes northeast. | ||
| CF | | ||
| CF | > | Jacqueline exclaims, "do, re, mi, bah, ha, so, la, ti, d'oh!" | |
| DavidW says (to ClubFloyd), "read diary" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > READ DIARY | ||
| CF | | ||
| CF | It is a torture diary. There are many pages, and I do not intend to | ||
| CF | leaf through them. On the last two, a list of names, with comments. | ||
| CF | Ominously, the names are always the same: | ||
| CF | | ||
| CF | Maksim Gromov (36), no relevance. DECEASED. | ||
| CF | Maksim Gromov (52), cf. Nemov, L. DECEASED. | ||
| CF | Maksim Gromov (23), possession of rucka (handle), seized. DECEASED. | ||
| CF | Yeseniya Gromov (34), no relevance. DECEASED. | ||
| CF | Maksim Gromov (48), received DECEASED. | ||
| CF | | ||
| CF | Mechanical sounds come from beyond the edge. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x rucka" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > X RUCKA | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "alaks" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > ALAKS | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x alkjasldf" | ||
| CF ] [UK] LIMIT OF HEAVENS | ||
| CF | | ||
| CF | > X ALKJASLDF | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | DavidW says, "hm. That trick didn't work." | |
| DavidW says, "Sometimes a game will react differently to words it knows." | ||
| Jacqueline nods. | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK] HUMBLE GREENERYS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK] HUMBLE GREENERY | ||
| CF | The park outside the castle is a huge pocket outside my time and | ||
| CF | space. A ring of trees of every kind, all colored like fireworks, the | ||
| CF | grass lush but well-kept, the great fountain in the center of a stone | ||
| CF | basin where colorful fish splash. | ||
| CF | | ||
| CF | Only two paths lead southwest and southeast. The castle is to the | ||
| CF | north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | I can exit to the south or go back in to the north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x sandstone" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > X SANDSTONE | ||
| CF | | ||
| CF | The arching vault is quite common. Less common that it is still | ||
| CF | standing. The whole of the United Kingdom was mercilessly wiped out | ||
| CF | already in the 1940s and finding even just historical relics is | ||
| CF | becoming increasingly difficult. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x fresco" | ||
| CF ] [UK] ENTRANCE HALLRYS | ||
| CF | | ||
| CF | > X FRESCO | ||
| CF | | ||
| CF | The fresco depicts a rural scene without much detail, intertwined with | ||
| CF | a geometric design: 5 horizontal lines are drawn equidistant from the | ||
| CF | floor to the ceiling. Each line and each space between is sequentially | ||
| CF | identified by a letter, from the E at the bottom to the F, with the | ||
| CF | sequence resetting from about halfway: E-F-G/A-B-C-D-E-F. | ||
| CF | | ||
| CF | > | Roger asks, "is that one-armed bandit still around?" | |
| DavidW asks, "oh right, the armor clutching its stomach?" | ||
| DavidW says, "There's no slot machine here." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > X ARMOR | ||
| CF | | ||
| CF | Black as pitch, shiny. Not holding a weapon in the hands, its arms | ||
| CF | folded in its lap suggest a severe stomachache. | ||
| CF | | ||
| CF | > | Roger says, "I mean that weird veteran we were talking to" | |
| Roger says, "But this armor does look enticing" | ||
| Jacqueline asks, "The guy behind the tree?" | ||
| DavidW says, "oh, the other me. No, he ran off." | ||
| DavidW says (to ClubFloyd), "x arms" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > X ARMS | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > OPEN ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > PUSH ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > SEARCH ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | Faint music comes from somewhere beyond the walls. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > TURN ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "hit armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > HIT ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "give poker to armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > GIVE POKER TO ARMOR | ||
| CF | | ||
| CF | I can only do that to something animate. | ||
| CF | | ||
| CF | > | DavidW says, "This guy is ignoring me." | |
| DavidW says (to ClubFloyd), "put apple in armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > PUT APPLE IN ARMOR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "give apple to armor" | ||
| CF ] [UK] DINING HALLLLRYS | ||
| CF | | ||
| CF | > GIVE APPLE TO ARMOR | ||
| CF | | ||
| CF | I can only do that to something animate. | ||
| CF | | ||
| CF | > | Roger says, "maybe the author wanted to keep the armor but playtesters kept messing with it" | |
| DavidW says, "plausible" | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [UK] BLOOD CHAMBER | ||
| CF | This is a torture chamber. In the solid center is a seat of torment, | ||
| CF | complete with armrests and straps. From it are cables that were once | ||
| CF | supposed to connect to machines that someone quickly made disappear. | ||
| CF | The walls are painted--or so I hope--a dark blood red, in large, | ||
| CF | uneven patches. The only exit, for those who are permitted, is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the east wall an old organ, probably a harpsichord, serves as the | ||
| CF | elephant in the room. | ||
| CF | | ||
| CF | > | Roger says, "Maybe there's more to the torture room. We didn't really hang out in there" | |
| DavidW says (to ClubFloyd), "search chair" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > SEARCH CHAIR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x chair" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > X CHAIR | ||
| CF | | ||
| CF | The sight alone makes me falter. The seat is covered in stains like | ||
| CF | the ones on the walls. Atrocious. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under chair" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > LOOK UNDER CHAIR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [UK] BLOOD CHAMBER | ||
| CF | This is a torture chamber. In the solid center is a seat of torment, | ||
| CF | complete with armrests and straps. From it are cables that were once | ||
| CF | supposed to connect to machines that someone quickly made disappear. | ||
| CF | The walls are painted--or so I hope--a dark blood red, in large, | ||
| CF | uneven patches. The only exit, for those who are permitted, is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the east wall an old organ, probably a harpsichord, serves as the | ||
| CF | elephant in the room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x armrests" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > X ARMRESTS | ||
| CF | | ||
| CF | The sight alone makes me falter. The seat is covered in stains like | ||
| CF | the ones on the walls. Atrocious. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x machines" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > X MACHINES | ||
| CF | | ||
| CF | Electric cables. I feel faint. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x blood" | ||
| CF ] [UK] BLOOD CHAMBERRYS | ||
| CF | | ||
| CF | > X BLOOD | ||
| CF | | ||
| CF | It is not possible, it is not humanly imaginable that the walls are | ||
| CF | actually covered in... blood. How many people have passed through this | ||
| CF | secret room? And what was done to them? I prefer to imagine that the | ||
| CF | color was chosen to emphasize torment, and that the darker stains are | ||
| CF | just mold. That, or I am facing the ultimate point of human baseness. | ||
| CF | | ||
| CF | > | DavidW says, "I don't know why that's implausible." | |
| Jacqueline says, "It's just denial." | ||
| Roger says, "blood isn't usually quite that squirty" | ||
| DavidW says, "People have been known to use bones as decor." | ||
| Roger says, "unless the had a torture salad-spinner or something" | ||
| DavidW says, "It could even be pig's blood." | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK] DINING HALLERRYS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | Faint music comes from somewhere beyond the walls. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | [UK] WEEPING STONES | ||
| CF | The large staircase spiraling up and down is composed of extraordinary | ||
| CF | steps of pink stone, covered with marble of the same color: nine | ||
| CF | segments that bloom from a central column, also in stone. Below, the | ||
| CF | light rises in the vertical chamber, blurred but powerful like an | ||
| CF | enormous cotton flower. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "jump" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > JUMP | ||
| CF | | ||
| CF | Pointless fatigue. | ||
| CF | | ||
| CF | > | DavidW asks, "Wait. Nine steps?" | |
| DavidW asks, "Are these steps the piano keys we're looking for?" | ||
| Roger says, "oho maybe" | ||
| Roger says, "how whimsical" | ||
| DavidW says (to ClubFloyd), "x steps" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > X STEPS | ||
| CF | | ||
| CF | I can address them individually. Counting from the bottom of the | ||
| CF | staircase, from one to nine. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "jump to step 8" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > JUMP TO STEP 8 | ||
| CF | | ||
| CF | I think you wanted to say "jump". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 8" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 8 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | Jacqueline says, "huh" | |
| DavidW says (to ClubFloyd), "stand on step 1" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 1 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 6" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 6 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 4" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 4 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 9" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 9 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 3" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 3 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 6" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 6 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stand on step 8" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON STEP 8 | ||
| CF | | ||
| CF | The step emits a faint note. | ||
| CF | | ||
| CF | The last note is dirty and out of tune. Something has gone wrong, and | ||
| CF | nothing noteworthy happens. | ||
| CF | | ||
| CF | > | DavidW says, "ok, I numbered them backwards." | |
| DavidW says, "instead of 81649368, I want 29461742." | ||
| DavidW says (to ClubFloyd), "stand on 2" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > STAND ON 2 | ||
| CF | | ||
| CF | [It looks like the steps need to be played in a sequence. From now on | ||
| CF | try SEQUENCE (or SEQ) followed by a number, eg: SEQ 12345678.] | ||
| CF | | ||
| CF | Faint music comes from below. | ||
| CF | | ||
| CF | > | Jacqueline says, "ooh" | |
| DavidW says (to ClubFloyd), "seq 29461742" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ 29461742 | ||
| CF | | ||
| CF | I play all the steps in sequence. | ||
| CF | | ||
| CF | Nothing happens, the sequence must be incorrect. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | The stairs continue up and down. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | As I descend the steps, they make muffled sounds. When I step off of | ||
| CF | the last one, there's a mechanical whine, like gears resetting. | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [UK] ENTRANCE HALLSYS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [UK] ENTRANCE HALL | ||
| CF | The ancient vault surmounts a spartan entrance, made of common | ||
| CF | sandstone. Where once reigned an imposing gate, to the south, there | ||
| CF | are only the hinges, the rest devoured by time and war. | ||
| CF | | ||
| CF | One of the empty walls offers a fresco now almost completely erased. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x fresco" | ||
| CF ] [UK] ENTRANCE HALLSYS | ||
| CF | | ||
| CF | > X FRESCO | ||
| CF | | ||
| CF | The fresco depicts a rural scene without much detail, intertwined with | ||
| CF | a geometric design: 5 horizontal lines are drawn equidistant from the | ||
| CF | floor to the ceiling. Each line and each space between is sequentially | ||
| CF | identified by a letter, from the E at the bottom to the F, with the | ||
| CF | sequence resetting from about halfway: E-F-G/A-B-C-D-E-F. | ||
| CF | | ||
| CF | > | DavidW says, "maybe I got the E's mixed up" | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [UK] DINING HALLLLSYS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | [UK] WEEPING STONES | ||
| CF | The large staircase spiraling up and down is composed of extraordinary | ||
| CF | steps of pink stone, covered with marble of the same color: nine | ||
| CF | segments that bloom from a central column, also in stone. Below, the | ||
| CF | light rises in the vertical chamber, blurred but powerful like an | ||
| CF | enormous cotton flower. | ||
| CF | | ||
| CF | > | Jacqueline says, "Ah, okay. I wasn't sure where y'all were getting the notes from because I was getting it from the poem, but that was only 8 notes." | |
| Jacqueline says, "Or perhaps only 7." | ||
| DavidW says (to ClubFloyd), "seq 92461749" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ 92461749 | ||
| CF | | ||
| CF | I play all the steps in sequence. | ||
| CF | | ||
| CF | Nothing happens, the sequence must be incorrect. | ||
| CF | | ||
| CF | > | DavidW says, "I am playing eight notes" | |
| Jacqueline says, "Those other notes, if you want to try them, were either EECA FGCE or ECA FGCE" | ||
| Jacqueline says (to DW), "Oh, so you are." | ||
| Jacqueline asks, "Which step is C?" | ||
| Jacqueline says, "I wonder." | ||
| DavidW says (to ClubFloyd), "seq eecafgce" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ EECAFGCE | ||
| CF | | ||
| CF | The sequence must be an 8-digit number, I think. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "seq 4431564" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ 4431564 | ||
| CF | | ||
| CF | The sequence must be an 8-digit number, I think. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "seq 18649361" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ 18649361 | ||
| CF | | ||
| CF | I play all the steps in sequence. | ||
| CF | | ||
| CF | Nothing happens, the sequence must be incorrect. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "seq 33184513" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ 33184513 | ||
| CF | | ||
| CF | I play all the steps in sequence. | ||
| CF | | ||
| CF | Nothing happens, the sequence must be incorrect. | ||
| CF | | ||
| CF | > | Jacqueline says, "Okay, those were my only intuitive guesses, with A as 1 or C as 1." | |
| DavidW says, "It would help if playing a single note would tell us what the note is." | ||
| Jacqueline nods. | ||
| Roger says (to f), "listen to step" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > LISTEN TO STEP | ||
| CF | | ||
| CF | Do you mean the step one, the step two, the step three, the step four, | ||
| CF | the step five, the step six, the step seven, the step eight or the | ||
| CF | step nine? | ||
| CF | | ||
| CF | > | ||
| Roger says (to f), "listen to step one" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > LISTEN TO STEP ONE | ||
| CF | | ||
| CF | A muted organ music coming from below. | ||
| CF | | ||
| CF | > | ||
| Roger says (to f), "sing" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SING | ||
| CF | | ||
| CF | I'm not sure I know what a song is anymore. | ||
| CF | | ||
| CF | > | ||
| Roger says (to f), "sing F" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SING F | ||
| CF | | ||
| CF | I think you wanted to say "sing". Please try again. | ||
| CF | | ||
| CF | > | ||
| Roger says (to f), "tune" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > TUNE | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x steps" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > X STEPS | ||
| CF | | ||
| CF | I can address them individually. Counting from the bottom of the | ||
| CF | staircase, from one to nine. | ||
| CF | | ||
| CF | > | Roger says, "we're faced with a devilish lock, if only we can find the right... key" | |
| DavidW says, "okay, so 1 = E, 2 = F, 3 = G, 4 = A, 5 = B, 6 = C, 7 = D, 8 = high E, 9 = high F" | ||
| Jacqueline says (to Roger), "Leave the ClubHouse. Now." | ||
| Jacqueline says, "Kidding. You can stay. I guess." | ||
| Roger cries! | ||
| Jacqueline says (to DW), "Okay, sure." | ||
| DavidW says (to ClubFloyd), "seq 18642361" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > SEQ 18642361 | ||
| CF | | ||
| CF | I play all the steps in sequence. | ||
| CF | | ||
| CF | The last note is sharp and sweet, and it resounds through the stairway | ||
| CF | and beyond. A niche opens in the wall, revealing an object within. | ||
| CF | | ||
| CF | > | Roger says, "yay" | |
| Jacqueline says, "I guess you found the right... no, I can't say it." | ||
| DavidW says (to ClubFloyd), "look in niche" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > LOOK IN NICHE | ||
| CF | | ||
| CF | There is a viola-shaped tile in the niche. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take viola" | ||
| CF ] [UK] WEEPING STONESYS | ||
| CF | | ||
| CF | > TAKE VIOLA | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | Jacqueline says, "woo" | |
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | [UK] DINING HALL | ||
| CF | The enormous room is overfurnished, elements from different eras | ||
| CF | clashing with each other like opposing armies. The massive table in | ||
| CF | the center seems recent, while the armor guarding the large fireplace | ||
| CF | is undoubtedly medieval. The walls have been covered in animal horns, | ||
| CF | while no one seems to have thought about the cold, gray stone floor, | ||
| CF | left bare. Exits lead up to the tower, west to an immense living room, | ||
| CF | and south to the castle entrance. | ||
| CF | | ||
| CF | On the table someone has been putting together a very complex jigsaw | ||
| CF | puzzle. | ||
| CF | | ||
| CF | The stain on the east wall has opened like a wound. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put viola in jigsaw" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > PUT VIOLA IN JIGSAW | ||
| CF | | ||
| CF | The viola shaped tile fits perfectly. | ||
| CF | | ||
| CF | As I insert the third tile, the puzzle lowers a good centimeter and is | ||
| CF | then sucked into the table by a hydraulic mechanism. The hole closes | ||
| CF | and in its place appears a new housing, this time square and shallow. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x housing" | ||
| CF ] [UK] DINING HALLNESYS | ||
| CF | | ||
| CF | > X HOUSING | ||
| CF | | ||
| CF | A few millimetres deep and about thirty-five centimetres on each side. | ||
| CF | | ||
| CF | > | DavidW asks, "uh oh. do we put the vinyl record there?" | |
| Roger says, "the album? Sure" | ||
| DavidW says (to ClubFloyd), "put vinyl in housing" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > PUT VINYL IN HOUSING | ||
| CF | | ||
| CF | The disc fills the space exactly, as if it had been designed on | ||
| CF | purpose. This too, after a second, is sucked into the eat-it-all table | ||
| CF | (bye-bye snake eyed girl!). The kaleidoscope of colors begins to form | ||
| CF | around me and, just a minute before reality changes again, an object | ||
| CF | is spat out of the table as if it were on a spring. I manage to catch | ||
| CF | it by a miracle: it looks like a kind of music box, but I don't have | ||
| CF | time to analyze it more than superficially because a few moments later | ||
| CF | I find myself in... | ||
| CF | | ||
| CF | [HUB] EIN ALTES WOHNZIMMER | ||
| CF | An old living room. Clean, polished, with ochre and yellow wallpaper | ||
| CF | on the walls, in vertical stripes; formica furniture; an old | ||
| CF | gramophone with a shape that is far from brutalist. And then a huge | ||
| CF | carpet, covering almost the entire floor. | ||
| CF | | ||
| CF | I can see a polished table (on which are a Pop Swatch watch and a | ||
| CF | Trinity box) here. | ||
| CF | | ||
| CF | > | Jacqueline says, "I am dizzy." | |
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a *Carillon, a torture diary, an apple, a cross-stitch | ||
| CF | embroidery and a poker. | ||
| CF | | ||
| CF | > | Jacqueline says, "Such a lovely inventory." | |
| DavidW says, "and we can never return there" | ||
| DavidW says (to ClubFloyd), "x carillon" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X CARILLON | ||
| CF | | ||
| CF | It is really a music box, made entirely of an iridescent metallic | ||
| CF | material that is difficult to interpret. Some call it a "carillon". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put carillon on table" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > PUT CARILLON ON TABLE | ||
| CF | | ||
| CF | I put the *Carillon on the polished table. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take it" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > TAKE IT | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "play it" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > PLAY IT | ||
| CF | | ||
| CF | It plays a harmonious melody, although it is not one I know. | ||
| CF | | ||
| CF | > | DavidW asks, "shall we stop here?" | |
| Jacqueline says, "Oh, crikey." | ||
| Jade says, "zone completed" | ||
| Jacqueline says, "Nearly 2pm." | ||
| Jacqueline says, "Yeah, seems a good spot." | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | Jade says, "zone cleared" | |
| Jade goes home. | ||
| DavidW says (to ClubFloyd), "cfpiccadilly2" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Jade says, "zone cleared" | |
| Jacqueline says (to Jade), "Yep yep yep" | ||
| Jacqueline says (to DW), "Well done." | ||
| Jade says, "The connection is too unstable today" | ||
| DavidW says, "thanks" | ||
| Jacqueline nods at Jade. | ||
| DavidW says (to ClubFloyd), "credits" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > CREDITS | ||
| CF | | ||
| CF | | ||
| CF | This game is yet another competitive frustration of Marco Innocenti, | ||
| CF | who for PunyComp24 decided to ignore almost every limit requested by | ||
| CF | the organizers and mix the cards even with regards to the imposed | ||
| CF | theme. Instead of a short game, that could be judged in an hour, the | ||
| CF | author has created a long and complicated puzzle fest, with some story | ||
| CF | attached. I apologize now to all those who will hate it, while I am | ||
| CF | already sending wedding promises to those who, at least a little, will | ||
| CF | appreciate it. | ||
| CF | | ||
| CF | The game is dedicated to Sandro Carlotti, the childhood friend that I | ||
| CF | haven't seen for years, with whom I wrote the first text adventures | ||
| CF | between 1983 and 1987. Sooner or later, I swear, one of those will be | Jacqueline says, "Well, sorry I missed last week. This is interesting. Look forward to more." | |
| CF | playable again on Commodore 64. | ||
| CF | | ||
| CF | HUGE thanks go to my uber-patient testers, namely: Adam Biltcliffe, | ||
| CF | Lance Cirone, Piergiorgio d'Errico, Max Fog, Javier Garza, Marius | ||
| CF | Mueller, AM Ruf, Sean (anodyne_one) and Stefan Vogt. Particularly | ||
| CF | abundant thanks to Fredrik Ramsberg for the many (public and secret) | ||
| CF | coding advices and for promising he won't ever again eat kebab pizza. | ||
| CF | More or less. | ||
| CF | | ||
| CF | Check more games by the author at andromedalegacy.com and at | ||
| CF | polyplay.xyz. | ||
| CF | | ||
| CF | > | Jade says, "I can read, but I can't write any message" | |
| Jacqueline says (to Jade), "We're seeing your messages." | ||
| Jade says, "I have restarted lot of times" | ||
| Jade says, "Great game by the way" | ||
| DavidW says, "yeah" | ||
| DavidW says, "difficult, though" | ||
| Jacqueline exclaims, "See you all next Sunday!" | ||
| DavidW says, "sure thing. thanks all!" | ||
| Roger says, "For me it is good, but not great. But yes, thanks everyone." | ||
| Roger disappears through an invisible gap in the MUD. You think you may have heard the sounds of chatting before the gap closed again. | ||
| DavidW focuses on his crystal and fades away into a silver haze in the light. | Jade says, "I enjoyed a lot when testing. This is my favourite flavour of IF games." | |
| Jade says, "DW, thanks for driving" | ||
| DavidW says, "you're very welcome" | ||
| Jade says, "See you next week, stay safe" | ||
| Jade says, "I will try to be on time, but this is my parent's weekend visit time." | ||
| Roger says, "next weekend is also the time-change weekend which is always a bit of a mess" | ||
| DavidW says, "not to worry. Family is more important than CF." | ||
| Doug goes home. | asparagus says, "How did this morning's session go? I kind of gave up on the game. I liked it, but found it just a touch too hard. I'll look at the CF log once you're done with it and play vicariously." | |
| Roger says, "It did seem on the hard side but we have DavidW on our side" | ||
| DavidW says, "Today's session when quite well. We did the entire England part." | ||
| DavidW says, "I'm trying to update my notes while I can still remember everything, although, I also logged the session." | ||
| asparagus says, "Oh nice. I got stuck and looked up a couple of hints." | ||
| asparagus says, "And even with the hints I couldn't quite grasp how they arrived at it, so wondering what I've missed." | ||
| DavidW says, "We're stuck in the Switzerland section and we haven't even seen the US section yet." | ||
| DavidW says, "I suspect the Switzerland section uses a long correspondence chain." | ||
| asparagus says, "How much of CH have you explored? There's one hint I can give you that is more of a heads-up than a hint." | ||
| DavidW says, "The dates in the history book, when written numerically, look like two of the times on the timetable." | ||
| DavidW says, "The times correspond to cities, and the scenes in the museum tell you which animals represent those cities." | ||
| DavidW says, "the figurines of the cities in the mechanism give you a time." | ||
| DavidW asks, "What's CH?" | ||
| Roger says, "Switzerland" | ||
| asparagus says, "Country code for Switzerland" | ||
| DavidW says, "oh right." | ||
| DavidW says, "I was thinking Counterfeit Honkey." | ||
| jenrexrode says, "ha" | ||
| DavidW says, "I think we've seen all the locations in Switzerland, have the coin, got rid of the guard, but we haven't found anything star-shaped, and the church's clock just says 00:00 no matter what time we set it to." | ||
| asparagus says, "Yeah, that's the heads-up" | ||
| asparagus says, "omit the colon from the time when setting the clock." | ||
| Roger says, "good tip; thanks" | ||
| DavidW says, "I'm hoping the poker from England will be able to smash the window in the other building so we can do *something* with opening the clock face." | ||
| DavidW asks, "OMIT THE COLON?!?!?" | ||
| DavidW says, "goddammit" | ||
| asparagus says, "Yeah. Set clock to 12:34 doesn't work. Set clock to 1234 does" | ||
| DavidW says, "shit fuck on a duck muck" | ||
| DavidW says, "thanks" | ||
| asparagus says, "Yeah. I personally consider that a pretty bad oversight/lack of polish." | ||
| DavidW says, "We should be able to solve that city then." | ||
| DavidW says, "the hint chain suggested a clock time of 20:10 is desired." | ||
| asparagus says, "I can confirm that that's right." | ||
| DavidW says, "I imagine the clock face will open, drop a star thing, we use it to open the dome north of the museum, open the second bay, put our watch in it and get the gyroscope thingy." | ||
| DavidW says, "When we played a week ago, we missed the scenes painting on the walls in the museum." | ||
| DavidW says, "er painted" | ||
| DavidW says, "So we didn't know all the cities had corresponding animals." | ||
| jenrexrode | Switzerland's official name is Swiss Confederation, or Schweizerische Eidgenossenschaft in German. To avoid favoring any one language, the Latin term Confoederatio Helvetica (Helvetic Confederation) is used officially. | ||
| jenrexrode says, "aka CH" | ||
| DavidW says, "at least they're not the Comic Sans Confederation." | ||
| jenrexrode says, "har har" | ||
| asparagus says, "I might start it over. It's clear I'll have to look at everything and pay really close attention." | ||
| DavidW says, "I wonder if Switzerland is Helvetikia in Esperanto." | ||
| DavidW says, "bah. It's Svislando." | ||
| *** SESSION 3 *** | ||
| DavidW says, "hello" | ||
| Roger says, "hey hey" | ||
| DavidW says, "Updated notes are at [LINK]" | ||
| Jacqueline says, "Howdy." | ||
| DavidW says, "I'm not sure what sort of shape I'm in. I couldn't sleep and only tried to go to bed again four hours ago." | ||
| DavidW says, "I'm eager to continue, however." | ||
| Roger says, "works for me" | ||
| Jacqueline says, "I am wrapping up a game that will take a few minutes, but feel free to start and I'll catch up." | ||
| DavidW says, "just took a vitamin C pill; hoping it'll help." | ||
| DavidW says, "well, we can wait a few to see if others will join us. Also, it's Daylight Savings Time day, so we might have that kerfuffle to deal with." | ||
| DavidW says, "On the other hand, I now know how to quickly finish the Switzerland portion of the game." | ||
| DavidW says, "After our first session, when I was writing up my notes, I noticed that we'd overlooked the paintings on the museum walls. Those paintings help relate cities to their animal emblem counterparts." | ||
| DavidW says, "And after our 2nd session, I was talking to asparagus who also was trying this game about the clock tower, and he told me that we have to not type the colon when setting the time." | ||
| DavidW says, "So, instead of typing SET CLOCK TO 20:10, we need to SET CLOCK TO 2010." | ||
| DavidW says, "okay, I'm going to start doing that." | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [HUB] EIN ALTES WOHNZIMMER | ||
| CF | An old living room. Clean, polished, with ochre and yellow wallpaper | ||
| CF | on the walls, in vertical stripes; formica furniture; an old | ||
| CF | gramophone with a shape that is far from brutalist. And then a huge | ||
| CF | carpet, covering almost the entire floor. | ||
| CF | | ||
| CF | I can see a polished table (on which are a Pop Swatch watch and a | ||
| CF | Trinity box) here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take watch" | ||
| CF ] [CH] BANQUET HALLOHNZIMMER | ||
| CF | | ||
| CF | > TAKE WATCH | ||
| CF | | ||
| CF | Back to Switzerland. | ||
| CF | | ||
| CF | [CH] BANQUET HALL | ||
| CF | Everything taller than two meters has been swept away. The sky is in | ||
| CF | the room with me. The great libation table of the guild is broken, a | ||
| CF | metaphor for this entire nation and the rest of Europe. The stairs | ||
| CF | leading down seem to be the only stable thing here. | ||
| CF | | ||
| CF | One of the windows, on the south side, is intact. Through it I can see | ||
| CF | the clock tower of the adjacent church. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [CH] ZUNFTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read history" | ||
| CF ] [CH] ZUNFTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > READ HISTORY | ||
| CF | | ||
| CF | History has little to tell. The books here are mostly summaries, the | ||
| CF | immobility of the last 30 years the perfect humus. | ||
| CF | | ||
| CF | OCTOBER '43, the Reich conquers Europe. The United Kingdom has been | ||
| CF | fallen for years and the USA has holed up in its New World, with | ||
| CF | little motivation to mix. | ||
| CF | Fourteen years of Reich. Hitler, dead of an overdose or from a badly | ||
| CF | cut batch--no one will ever know--is succeeded by Gunter Todesengel, | ||
| CF | who however proves to be less charismatic and cunning than his | ||
| CF | predecessor, so much so that he causes the Empire of a Thousand Years | ||
| CF | to fail in a tiny fraction of the same. | ||
| CF | OCTOBER '57, Georgij Malenkov declares the Soviet Era. Following the | ||
| CF | fall of the Reich... etc, etc, etc. And it is already today's history. | ||
| CF | | ||
| CF | The two dates in October have been circled in pencil. | ||
| CF | | ||
| CF | > | DavidW says, "Note that the two dates circled in pencil are October 43 and October 57." | |
| DavidW says, "In numerical form, those dates are 10/43 and 10/57." | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x statue" | ||
| CF ] [CH] RINGTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > X STATUE | ||
| CF | | ||
| CF | The Venner-Brunnen (as the plaque states) is an opulent fountain. Atop | ||
| CF | its pedestal, a valiant armored figure, clad in patinated bronze, | ||
| CF | gazes over the town. The drain has been broken, probably in a bombing, | ||
| CF | so that it is now a hole measuring almost a meter in diameter. Water | ||
| CF | slides in without opposition, leaving the pool constantly empty. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tower" | ||
| CF ] [CH] RINGTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > X TOWER | ||
| CF | | ||
| CF | A square tower with a peculiar pointed hat. An ancient clock with the | ||
| CF | bear of Bern is displayed on the facade. | ||
| CF | | ||
| CF | The mechanisms inside the clock tower grind metallically. | ||
| CF | | ||
| CF | > | DavidW says, "Note the bear of Bern on the tower. Bear = Bern." | |
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWSALLOHNZIMMER | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWSALLOHNZIMMER | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] STATIONWSALLOHNZIMMER | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] STATION | ||
| CF | Only one track, in both directions, to prove that Bienne is not the | ||
| CF | most visited city in Switzerland. Not since the Confederation also | ||
| CF | became Red territory. An alley goes back south towards the river. | ||
| CF | | ||
| CF | A metal panel weathers the elements in this roofless station. | ||
| CF | | ||
| CF | On the panel is a faded train timetable. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x timetable" | ||
| CF ] [CH] STATIONWSALLOHNZIMMER | ||
| CF | | ||
| CF | > X TIMETABLE | ||
| CF | | ||
| CF | There are about twenty departures, and no arrivals (it is clear that | ||
| CF | it was written when Switzerland was no longer Switzerland). | ||
| CF | | ||
| CF | 08:43 MUNICH 17:18 TURIN | ||
| CF | 08:57 NEUCHATEL 17:33 MUNICH | ||
| CF | 09:21 BERN 17:49 NEUCHATEL | ||
| CF | 09:35 ZURICH 18:02 BERN | ||
| CF | 09:43 BASEL 18:18 TURIN | ||
| CF | 09:57 PARIS 18:33 PARIS | ||
| CF | 10:21 MUNICH 18:49 BASEL | ||
| CF | 10:35 NEUCHATEL 19:02 MUNICH | ||
| CF | 10:43 BERN 19:18 NEUCHATEL | ||
| CF | 10:57 ZURICH 19:33 MILAN | ||
| CF | | ||
| CF | > | DavidW says, "The dates 10/43 and 10/57, when read as the times 10:43 and 10:57, correspond to BERN and ZURICH." | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [CH] RIVERONWSALLOHNZIMMER | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERONWSALLOHNZIMMER | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | I can go north, across the river, northeast and west. | ||
| CF | | ||
| CF | A piece of wood passes by and floats alone on the river. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x scenes" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X SCENES | ||
| CF | | ||
| CF | There are five very large representations, plus about ten small and | ||
| CF | insignificant ones. From the left, near the entrance door and | ||
| CF | clockwise: the Protestant Reformation, the Eighty Years' War, the | ||
| CF | French Revolution, the Napoleonic Conflict, the Sonderbund Clash; | ||
| CF | ironic that there is nothing about the conflicts of this century. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x reformation" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X REFORMATION | ||
| CF | | ||
| CF | Reformers preach to a gathered crowd. In the background, like giant | ||
| CF | judges, emerge the Basilisk of Basel, carved into a distant pillar, | ||
| CF | and the black eagle of Neuchatel subtly entwined in the sky in the | ||
| CF | background. The scene seems charged, but layered with hidden symbols, | ||
| CF | as if the past itself were watching. | ||
| CF | | ||
| CF | > | DavidW says, "Basilisk = BASEL. eagle = NEUCHATEL." | |
| DavidW says (to ClubFloyd), "x war" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X WAR | ||
| CF | | ||
| CF | Swiss mercenaries clash amid smoke and chaos, their faces resolute. | ||
| CF | Hidden in the shadows of armor and banners, the serpent of Milan coils | ||
| CF | around the shield of a fallen soldier, hinting at the alliances and | ||
| CF | rivalries woven into the conflict. | ||
| CF | | ||
| CF | > | DavidW says, "Serpent = Milan." | |
| DavidW says (to ClubFloyd), "x revolution" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X REVOLUTION | ||
| CF | | ||
| CF | The Italian campaign of the French Revolution. Soldiers advance under | ||
| CF | tattered banners. A bull, symbol of Turin, stands proudly on a distant | ||
| CF | hill, half shrouded in dust and smoke, as French forces advance, | ||
| CF | signaling the clash of empires. | ||
| CF | | ||
| CF | > | DavidW says, "Bull = TURIN." | |
| DavidW says (to ClubFloyd), "x conflict" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X CONFLICT | ||
| CF | | ||
| CF | A less bloody scene: soldiers march under shifting banners. The golden | ||
| CF | lion of Monaco stands firm on a general's armor next to the Coq | ||
| CF | Gaulois of Paris, signaling Maximilian von Merveldt's alliance with | ||
| CF | France, as the forces advance, united but tense. | ||
| CF | | ||
| CF | > | DavidW says, "lion = MONACO. coq (which means rooster) = PARIS." | |
| Roger says, "yay chicken" | ||
| DavidW says (to ClubFloyd), "x clash" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X CLASH | ||
| CF | | ||
| CF | Under storm-darkened skies, the Swiss cantons are divided in a fierce | ||
| CF | stalemate. Amid Bern's steadfast ranks, the beast of Zurich rises from | ||
| CF | a battle flag, wings outstretched, embodying the city's defiance. The | ||
| CF | tension between allies turned adversaries pulses through every | ||
| CF | brushstroke, capturing a nation at odds with itself. | ||
| CF | | ||
| CF | > | DavidW says, "beast = ZURICH" | |
| Roger says, "That's pretty generic" | ||
| Roger says, "Something with wings, at least" | ||
| DavidW says, "The cities from the timetable were Bern and Zurich, so we want bear and beast." | ||
| DavidW says (to ClubFloyd), "put bear in left recess" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > PUT BEAR IN LEFT RECESS | ||
| CF | | ||
| CF | (first taking the wooden bear figurine) | ||
| CF | I take the golden lion figurine before putting the wooden bear | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put beast in right recess" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > PUT BEAST IN RIGHT RECESS | ||
| CF | | ||
| CF | (first taking the winged beast figurine) | ||
| CF | It's best if I handle one at a time, so I put back the golden lion | ||
| CF | figurine before taking another. | ||
| CF | | ||
| CF | I take the ramping bull figurine before putting the winged beast | ||
| CF | figurine in. | ||
| CF | | ||
| CF | The figurine fits perfectly into the slot. The clock's plates | ||
| CF | rearrange themselves with a whirling noise. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | The machine almost reaches the ceiling, topped by a large clock with | ||
| CF | numbered plates elegantly displaying the time. Below, intricate | ||
| CF | mechanisms whir and click, revealing brass and copper gears and steam | ||
| CF | pipes. A pocket on the front holds a set of figurines, while two | ||
| CF | recesses at the left and right lend themselves to holding guests. | ||
| CF | | ||
| CF | The clock says 20:10. | ||
| CF | | ||
| CF | > | DavidW says, "20:10 is the target time." | |
| Roger says, "yay for us" | ||
| DavidW says, "The animal in the left recess sets the hour; the animal in the right one sets the minutes." | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | Before leaving, I should put the figurine back... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a ramping bull figurine, a Pop Swatch watch, a | ||
| CF | *Carillon, a torture diary, an apple, a cross-stitch embroidery and a | ||
| CF | poker. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put bull in pocket" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > PUT BULL IN POCKET | ||
| CF | | ||
| CF | I put the ramping bull figurine into the pocket. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RIVERMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] LAKEVIEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] RINGVIEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] CHURCHEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | | ||
| CF | [CH] CHURCH | ||
| CF | Bavarian Gothic is certainly not one of the freshest and brightest | ||
| CF | architectural styles. In here it almost takes a break, thanks to the | ||
| CF | large windows of the bell tower and, above all, the light that filters | ||
| CF | from the holes in the roof caused by cannon fire. The exit is to the | ||
| CF | west. | ||
| CF | | ||
| CF | On the left, against one of the church's more battered walls, is a | ||
| CF | device that appears to be both an elaborate altar and a clock | ||
| CF | mechanism. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x altar" | ||
| CF ] [CH] CHURCHEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X ALTAR | ||
| CF | | ||
| CF | This is an extraordinary mechanism, a religious object in a time when | ||
| CF | religion is banned. A series of tubes and contraptions operate other | ||
| CF | gears, which from what appears to be an altar connect up to the | ||
| CF | ceiling. On the altar itself, cogwheels and brass arabesques form a | ||
| CF | pattern that surrounds a smaller combination dial. On this, no doubt, | ||
| CF | the time of the clock on the bell tower can be set. | ||
| CF | | ||
| CF | The clock says 00:00. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set dial to 2010" | ||
| CF ] [CH] CHURCHEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > SET DIAL TO 2010 | ||
| CF | | ||
| CF | The altar emits a distinctive sound, like a kind of very high-pitched | ||
| CF | gong. Outside, the sound of shattering glass. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [CH] RINGCHEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | A light wind ruffles my hair. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x clock" | ||
| CF ] [CH] RINGCHEWEUMLOHNZIMMER | ||
| CF | | ||
| CF | > X CLOCK | ||
| CF | | ||
| CF | Huge, and superimposed on the coat of arms of the Bern bear. The white | ||
| CF | dial seems detached from the wall, as if it were hiding something | ||
| CF | behind it. | ||
| CF | | ||
| CF | The clock says 20:10. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] ZUNFTHAUSUMLOHNZIMMER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [CH] BANQUET HALLOHNZIMMER | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | [CH] BANQUET HALL | ||
| CF | Everything taller than two meters has been swept away. The sky is in | ||
| CF | the room with me. The great libation table of the guild is broken, a | ||
| CF | metaphor for this entire nation and the rest of Europe. The stairs | ||
| CF | leading down seem to be the only stable thing here. | ||
| CF | | ||
| CF | The window on the south side is now broken. In it is framed the clock | ||
| CF | tower of the adjacent church. | ||
| CF | | ||
| CF | A knob I hadn't noticed before shines among the rotten wood. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take knob" | ||
| CF ] [CH] BANQUET HALLOHNZIMMER | ||
| CF | | ||
| CF | > TAKE KNOB | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x it" | ||
| CF ] [CH] BANQUET HALLOHNZIMMER | ||
| CF | | ||
| CF | > X IT | ||
| CF | | ||
| CF | A knob, like the ones found on doors. On the opposite side of the | ||
| CF | handle is a star-shaped protuberance. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [CH] ZUNFTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | [CH] ZUNFTHAUS | ||
| CF | The large room reflects the glories of an era that no longer exists. | ||
| CF | For some reason, the Soviets left the late 1800s Germanic furnishings | ||
| CF | untouched. The interwoven beam ceiling shelters a room filled with | ||
| CF | high chairs clustered around old wooden tables. Every wall is lined | ||
| CF | with dark bookcases, displaying old-style-bound books. A staircase can | ||
| CF | be seen in one corner, leading up to the upper floor in the darkness. | ||
| CF | The exit is southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] RINGTHAUSALLOHNZIMMER | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [CH] RING | ||
| CF | A small square, dominated by a clock tower miraculously spared by the | ||
| CF | late war. The church of which it is part opens to the east, at the top | ||
| CF | of a slight slope. On the same side, to the northeast, a building with | ||
| CF | many windows. The lake can be glimpsed between the alleys to the | ||
| CF | southwest. | ||
| CF | | ||
| CF | The Venner-Brunnen fountain statue stands on the left side of the | ||
| CF | square. | ||
| CF | | ||
| CF | A light wind ruffles my hair. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [CH] LAKEVIEWSALLOHNZIMMER | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | | ||
| CF | [CH] LAKEVIEW | ||
| CF | The typical Swiss mountains are transformed into rolling hills on the | ||
| CF | north side of a placid lake. The usual leaden post-war sky caresses a | ||
| CF | valley without any peculiarities. Towards the northeast, statues of | ||
| CF | Soviet heroes invite us to enter the old town, while a crumbling | ||
| CF | avenue continues east with less pretensions. | ||
| CF | | ||
| CF | A half-torn sign informs us we are in BIENNE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [CH] RIVERIEWSALLOHNZIMMER | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [CH] RIVER | ||
| CF | The bank is protected only by a continuous hedge, which runs along it | ||
| CF | slavishly. A bridge crosses it and lands north towards a road with a | ||
| CF | slight slope. To the northeast, following a curve in the river, the | ||
| CF | road continues towards an area of taller buildings, many of | ||
| CF | which--from here I can see them well--blunted by the wave of war. The | ||
| CF | lake is back west. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [CH] UHRENMUSEUMLOHNZIMMER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [CH] UHRENMUSEUM | ||
| CF | The huge writing on the wall is in German, like everything else of | ||
| CF | value in these parts by the 1950s. The main room is a a sort of | ||
| CF | permanent exhibition of scenes, mostly war-related, painted on every | ||
| CF | wall. To the north, a secondary room is glimpsed through a wide | ||
| CF | passage. I can return to the river to the southwest. | ||
| CF | | ||
| CF | To one side of the room sits a tall clockwork machine, the clatter of | ||
| CF | its gears testifying to its workings. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [CH] SPIELAUTOMAT | ||
| CF | The small room is a web of pipes and cables that twists and turns, | ||
| CF | interrupted here and there by brass boxes and large, eternally moving | ||
| CF | gears. Whatever clock is kept in motion here, it must be as big as the | ||
| CF | entire city. To the south is the only exit that makes sense. | ||
| CF | | ||
| CF | A sort of domed display stand, made entirely of what appears to be | ||
| CF | polished silver, emerges from the bronze mass. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x dome" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > X DOME | ||
| CF | | ||
| CF | An elaborate stand, made of a shiny, silver-like metal, topped with a | ||
| CF | transparent dome. Inside is exhibited a delicate and complex | ||
| CF | mechanism, stored in one of the two bays present. It is unknown what | ||
| CF | happened to the second object. | ||
| CF | | ||
| CF | On the front side there are two slots: one star-shaped and the other | ||
| CF | taller and thinner. | ||
| CF | | ||
| CF | > | DavidW says, "We already put a coin into the thin slot in session one." | |
| DavidW says (to ClubFloyd), "put knob in star slot" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > PUT KNOB IN STAR SLOT | ||
| CF | | ||
| CF | The knob fits perfectly into the housing and remains stuck there. | ||
| CF | | ||
| CF | As soon as I push the knob in, the stand starts to vibrate like a | ||
| CF | circus act. After a few moments, the dome slowly opens, freeing its | ||
| CF | exhibit. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in dome" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > LOOK IN DOME | ||
| CF | | ||
| CF | I find nothing special. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x exhibit" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > X EXHIBIT | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [CH] SPIELAUTOMAT | ||
| CF | The small room is a web of pipes and cables that twists and turns, | ||
| CF | interrupted here and there by brass boxes and large, eternally moving | ||
| CF | gears. Whatever clock is kept in motion here, it must be as big as the | ||
| CF | entire city. To the south is the only exit that makes sense. | ||
| CF | | ||
| CF | A sort of domed display stand, made entirely of what appears to be | ||
| CF | polished silver, emerges from the bronze mass. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x stand" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > X STAND | ||
| CF | | ||
| CF | An elaborate stand, made of a shiny, silver-like metal, topped with a | ||
| CF | transparent dome. Inside is exhibited a delicate and complex | ||
| CF | mechanism, stored in one of the two bays present. It is unknown what | ||
| CF | happened to the second object. The dome is now open, liberating the | ||
| CF | mechanism and the empty bay. | ||
| CF | | ||
| CF | On the front side there are two slots: one star-shaped and the other | ||
| CF | taller and thinner. | ||
| CF | | ||
| CF | The plungers release energy with a puff of steam. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x mechanism" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > X MECHANISM | ||
| CF | | ||
| CF | It is a rotating cage, inside which gyroscopic elements compensate for | ||
| CF | gravity with a continuous movement. I believe in watchmaking it is | ||
| CF | called a "tourbillon". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take tourbillon" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > TAKE TOURBILLON | ||
| CF | | ||
| CF | The tourbillon is blocked by some locking device. Maybe the bay next | ||
| CF | to it is for something... | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x bay" | ||
| CF ] [CH] SPIELAUTOMATOHNZIMMER | ||
| CF | | ||
| CF | > X BAY | ||
| CF | | ||
| CF | A housing for a piece... that looks very much like a watch. Someone | ||
| CF | carved a writing on it: Parni byli zdes'. The Boys were here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put watch in bay" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > PUT WATCH IN BAY | ||
| CF | | ||
| CF | The Pop Swatch fits perfectly into the bay, as if it were made just | ||
| CF | for it. As soon as I let it go, the air around me begins to deform, | ||
| CF | and the water bubble begins to expand. I just have time to grab the | ||
| CF | tourbillon before everything dissolves and I find myself back in... | ||
| CF | | ||
| CF | [HUB] EIN ALTES WOHNZIMMER | ||
| CF | An old living room. Clean, polished, with ochre and yellow wallpaper | ||
| CF | on the walls, in vertical stripes; formica furniture; an old | ||
| CF | gramophone with a shape that is far from brutalist. And then a huge | ||
| CF | carpet, covering almost the entire floor. | ||
| CF | | ||
| CF | I can see a polished table (on which is a Trinity box) here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a *Tourbillon, a *Carillon, a torture diary, an apple, a | ||
| CF | cross-stitch embroidery and a poker. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tourbillon" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > X TOURBILLON | ||
| CF | | ||
| CF | It is a rotating cage, inside which gyroscopic elements compensate for | ||
| CF | gravity with a continuous movement. I believe in watchmaking it is | ||
| CF | called a "tourbillon". | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf19" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Remind me about the * before words?" | |
| DavidW says, "The star has not been explained, but in some very old games, stars mean an object is a treasure." | ||
| DavidW says, "Anyway, ..." | ||
| DavidW says (to ClubFloyd), "take box" | ||
| CF ] [HUB] EIN ALTES WOHNZIMMER | ||
| CF | | ||
| CF | > TAKE BOX | ||
| CF | | ||
| CF | As soon as I grab the box, the air around me compresses, as if sucked | ||
| CF | into a singularity. Then it expands in a microsecond and my entire | ||
| CF | self disintegrates in every direction. A flash of white and then there | ||
| CF | is nothing left. | ||
| CF | | ||
| CF | A strange little song rings in my ears... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF | | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | When the music fades and the physics return, I find myself in... | ||
| CF | | ||
| CF | [US] CATCHALL | ||
| CF | Son of a gun! I didn't think a place could be so cramped and yet so | ||
| CF | crammed with stuff. | ||
| CF | | ||
| CF | A storage room no more than a meter and a half on a side, with a metal | ||
| CF | door to the northeast and every nook and cranny and wall covered with | ||
| CF | war-stored knick-knacks. The door is broken, leaving a crack just big | ||
| CF | enough to squeeze through. | ||
| CF | | ||
| CF | > | DavidW says, "We're in Merica" | |
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | The only useful thing about this place, and it's broken. Luckily it | ||
| CF | leaves a crack open for me to get out, to the northeast. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x knick-knacks" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > X KNICK-KNACKS | ||
| CF | | ||
| CF | There really is everything in here. Common objects, average objects, | ||
| CF | rare objects. I don't want to name them because that would make them | ||
| CF | real and then I might be tempted to search through them and take some | ||
| CF | of them away. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search them" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > SEARCH THEM | ||
| CF | | ||
| CF | Rummaging through the knick-knacks I find more knick-knacks, behind | ||
| CF | which hide more knick-knacks, resting on still more knick-knacks. This | ||
| CF | closet is practically a fractal. | ||
| CF | | ||
| CF | Oh, look! There's an old broom among all this junk. I don't know why, | ||
| CF | but it catches my eye. Maybe because it's the single oldest and most | ||
| CF | broken-down thing in the entire closet. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x broom" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > X BROOM | ||
| CF | | ||
| CF | Not even the old coal lady would use it. It's reduced to a metal pole | ||
| CF | with a few tufts of brush on top. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take broom" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > TAKE BROOM | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search them" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > SEARCH THEM | ||
| CF | | ||
| CF | Rummaging through the knick-knacks I find more knick-knacks, behind | ||
| CF | which hide more knick-knacks, resting on still more knick-knacks. This | ||
| CF | closet is practically a fractal. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | The south side of this elevated walkway opens to the northeast and | ||
| CF | northwest onto two mirrored openings that overlook insulated tanks. | ||
| CF | The northern passage is blocked, as the suspension bridge has | ||
| CF | collapsed. The southeast door is permanently closed, I believe since | ||
| CF | 1947. To the southwest is a useless storage room. | ||
| CF | | ||
| CF | A Geiger counter has been applied to the south wall. It seems to be | ||
| CF | still active. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x counter" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X COUNTER | ||
| CF | | ||
| CF | The measurement is over 300 microsieverts per hour: I must be on the | ||
| CF | east coast of the United States. Although almost 40 years have passed | ||
| CF | since that Christmas of 1947, the fallout is still tremendously | ||
| CF | devastating. | ||
| CF | | ||
| CF | I have heard horrifying stories of that day, the apocalypse for the | ||
| CF | Western world. The Nazis had just invented the ultimate weapon, the | ||
| CF | bomb that would finish all bombs. They called it Goetterhammer, the | ||
| CF | Hammer of the Gods, on the advice of Hitler himself, a fanatic of | ||
| CF | Wagner and Norse myths. When it was the turn of his successor, | ||
| CF | Todesengel, the name became Weltenbrenner, Burner of Worlds. More | ||
| CF | appropriate, for a device that was now 100 times more powerful and | ||
| CF | capable of wiping out life in a few seconds. | ||
| CF | | ||
| CF | On the east coast of the United States, the most targeted, it is said | ||
| CF | that the inhabitants did not even notice. A few minutes, and the | ||
| CF | Empire beyond the sea was completely annihilated. | ||
| CF | | ||
| CF | > | DavidW says, "well yikes" | |
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The northwest one is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. The one to the | ||
| CF | northeast is empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | DavidW asks, "I guess we go northeast?" | |
| Jacqueline says, "Sure" | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x floor" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X FLOOR | ||
| CF | | ||
| CF | A look in that direction reveals nothing new. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | The button has two indicators on it: a lightning bolt and a wave. It | ||
| CF | is one piece, so whatever it does, it does for both symbols. | ||
| CF | | ||
| CF | > | Jacqueline says, "That's a pretty ominous button." | |
| DavidW says, "yeah." | ||
| DavidW says (to ClubFloyd), "x north" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X NORTH | ||
| CF | | ||
| CF | A look in that direction reveals nothing new. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is flooded. Electric arcs jump | ||
| CF | out of the water, meaning it's electrified. The one to the south is | ||
| CF | empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | Jacqueline asks, "I mean, maybe it shuts off the electricity there?" | |
| Jacqueline says, "Or maybe it kills us." | ||
| Jacqueline says, "Not sure." | ||
| DavidW says, "I don't see what to do other than push this button or enter an electrified tank or use the broom in some clever way." | ||
| Roger says, "you're sure this is going to cure my measles, right" | ||
| DavidW says, "I vote push the button." | ||
| Roger says, "gotta push it" | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. | ||
| CF | | ||
| CF | > | DavidW asks, "so empty tanks become full and full ones become empty?" | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | Roger says, "yes, but also we have no idea what happened" | |
| Jacqueline says, "Swaps 'em, I guess." | ||
| DavidW says (to ClubFloyd), "x panel" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X PANEL | ||
| CF | | ||
| CF | The switch on the panel is currently OFF. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X SWITCH | ||
| CF | | ||
| CF | The switch on the panel is currently OFF. | ||
| CF | | ||
| CF | > | DavidW says, "I want to explore more before pushing unmarked switches." | |
| Roger says, "sure" | ||
| DavidW says, "At least the button had symbols." | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | The button has one indicator on it: the symbol of a wave. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The southeast one is empty, with no trace of | ||
| CF | electrical activity. The one to the southwest is flooded. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | It's a metal door that slides on rails. It's currently closed. At the | ||
| CF | height of the handle there's a slot and that's it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x slot" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X SLOT | ||
| CF | | ||
| CF | It's a metal door that slides on rails. It's currently closed. At the | ||
| CF | height of the handle there's a slot and that's it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open door" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > OPEN DOOR | ||
| CF | | ||
| CF | There is no handle. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Our broom is ... metal? Or wood?" | |
| DavidW says (to ClubFloyd), "x broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BROOM | ||
| CF | | ||
| CF | Not even the old coal lady would use it. It's reduced to a metal pole | ||
| CF | with a few tufts of brush on top. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "touch water with pole" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TOUCH WATER WITH POLE | ||
| CF | | ||
| CF | I only understood you as far as "touch water" but then you lost me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "touch water with broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TOUCH WATER WITH BROOM | ||
| CF | | ||
| CF | I only understood you as far as "touch water" but then you lost me. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Put the pole in it?" | |
| DavidW says, "I'd like to test if we can enter a tank with water" | ||
| DavidW says (to ClubFloyd), "put broom in water" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUT BROOM IN WATER | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | The tank is completely full of water, probably contaminated. I can't | ||
| CF | get in. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The southeast one is flooded. The one to the | ||
| CF | southwest is empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the northeast and south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | In the southern tank, five feet from the nearest edge, a metal panel | ||
| CF | floats on the contaminated water. A red rectangle the size of a | ||
| CF | business card is clearly visible on the panel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | The button has one indicators on it: a lightning bolt. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X PANEL | ||
| CF | | ||
| CF | A metal panel, nothing more, probably fallen from the ceiling. On the | ||
| CF | panel is a red, rectangular object. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x water" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X WATER | ||
| CF | | ||
| CF | Better take a look at the tanks instead. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TAKE PANEL | ||
| CF | | ||
| CF | The panel is out of range. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take panel with broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TAKE PANEL WITH BROOM | ||
| CF | | ||
| CF | Impossible, it doesn't have a hook. | ||
| CF | | ||
| CF | > | DavidW says, "I don't remember seeing a hook." | |
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | In the southern tank, five feet from the nearest edge, a metal panel | ||
| CF | floats on the contaminated water. A red rectangle the size of a | ||
| CF | business card is clearly visible on the panel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x walkway" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X WALKWAY | ||
| CF | | ||
| CF | It is a metal bridge that forms a cross over the tanks, to control | ||
| CF | them from above. The central part has collapsed and does not allow | ||
| CF | passage. | ||
| CF | | ||
| CF | > | Jacqueline says, "Like, the broom doesn't have a hook? Or the panel? That wording..." | |
| DavidW says, "the broom has no hook" | ||
| Roger says, "gotta drop a funky bassline" | ||
| DavidW says, "The game's author's native language isn't English." | ||
| Jacqueline says (to Roger), "yay" | Jacqueline says (to Roger), "yay" | |
| Jacqueline says (to DW), "It might as well be. This isn't an ESL issue." | ||
| DavidW asks, "I'm unsure what this button does. Does it electrify this water?" | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, but electric arcs | ||
| CF | run through its floor, meaning it's electrified. The one to the south | ||
| CF | is flooded. Electric arcs jump out of the water, meaning it's | ||
| CF | electrified. | ||
| CF | | ||
| CF | > | DavidW says, "So both tanks are electrified since neither were." | |
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. | ||
| CF | | ||
| CF | > | Jacqueline says, "Yep" | |
| DavidW says, "okay. I'm tempted to search for a hook in the storeroom." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the northeast and south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x lamp" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X LAMP | ||
| CF | | ||
| CF | It is a cage lamp of the kind that cannot be broken. At this moment it | ||
| CF | emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x walkway" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X WALKWAY | ||
| CF | | ||
| CF | It is a metal bridge that forms a cross over the tanks, to control | ||
| CF | them from above. The central part has collapsed and does not allow | ||
| CF | passage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | I can only go southeast and southwest into the two nearest tanks. Or | ||
| CF | try the security door to the north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The southeast one is flooded. The one to the | ||
| CF | southwest is empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | Jacqueline says, "Hm, maybe there's more in there. It felt like it wasn't going to give us much of the junk." | |
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The southeast one is empty, with no trace of | ||
| CF | electrical activity. The one to the southwest is flooded. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | DavidW says, "Pushing this switch seems to be our other option." | |
| Roger says, "yup" | ||
| DavidW asks, "Do we wanna waste time in the storeroom or push this switch?" | ||
| Roger says, "push first is my vote" | ||
| Jacqueline says, "Same" | ||
| DavidW says, "yeah agreed" | ||
| DavidW says (to ClubFloyd), "push switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUSH SWITCH | ||
| CF | | ||
| CF | Nothing's happening. I think there's no power in this tank. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X SWITCH | ||
| CF | | ||
| CF | The switch on the panel is currently OFF. | ||
| CF | | ||
| CF | > | DavidW says, "hm, we don't leave it ON." | |
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x catwalk" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X CATWALK | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x walkway" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X WALKWAY | ||
| CF | | ||
| CF | It is a metal bridge that forms a cross over the tanks, to control | ||
| CF | them from above. The central part has collapsed and does not allow | ||
| CF | passage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | The south side of this elevated walkway opens to the northeast and | ||
| CF | northwest onto two mirrored openings that overlook insulated tanks. | ||
| CF | The northern passage is blocked, as the suspension bridge has | ||
| CF | collapsed. The southeast door is permanently closed, I believe since | ||
| CF | 1947. To the southwest is a useless storage room. | ||
| CF | | ||
| CF | A Geiger counter has been applied to the south wall. It seems to be | ||
| CF | still active. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x door" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X DOOR | ||
| CF | | ||
| CF | A metal door, probably two feet thick. It was welded shut, to prevent | ||
| CF | anyone--or anything--from getting in or out. Forever. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x walkway" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X WALKWAY | ||
| CF | | ||
| CF | It is a metal bridge that forms a cross over the tanks, to control | ||
| CF | them from above. The central part has collapsed and does not allow | ||
| CF | passage. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look north" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > LOOK NORTH | ||
| CF | | ||
| CF | A look in that direction reveals nothing new. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The northwest one is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. The one to the | ||
| CF | northeast is empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x buttoh" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BUTTOH | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BUTTON | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [US] CATCHALL | ||
| CF | A storage room no more than a meter and a half on a side, with a metal | ||
| CF | door to the northeast and every nook and cranny and wall covered with | ||
| CF | war-stored knick-knacks. The door is broken, leaving a crack just big | ||
| CF | enough to squeeze through. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x hook" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > X HOOK | ||
| CF | | ||
| CF | Sorry, I don't understand what "hook" means. | ||
| CF | | ||
| CF | > | DavidW says, "okay, maybe there's not any hook to find." | |
| Jacqueline says (to ClubFloyd), "hook" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > HOOK | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | Jacqueline says, "Yeah" | |
| DavidW says (to ClubFloyd), "bend broom" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > BEND BROOM | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x magnet" | ||
| CF ] [US] CATCHALL | ||
| CF | | ||
| CF | > X MAGNET | ||
| CF | | ||
| CF | Sorry, I don't understand what "magnet" means. | ||
| CF | | ||
| CF | > | DavidW asks, "You want to leave the broom in a tank, electrify it, and hope it becomes a magnet?" | |
| Jacqueline says, "Ooh. Maybe." | ||
| Jacqueline says, "Then use it to get that panel." | ||
| DavidW says, "I don't think magnets are made that way, but I'm hard pressed to know what to do." | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | The south side of this elevated walkway opens to the northeast and | ||
| CF | northwest onto two mirrored openings that overlook insulated tanks. | ||
| CF | The northern passage is blocked, as the suspension bridge has | ||
| CF | collapsed. The southeast door is permanently closed, I believe since | ||
| CF | 1947. To the southwest is a useless storage room. | ||
| CF | | ||
| CF | A Geiger counter has been applied to the south wall. It seems to be | ||
| CF | still active. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "drop broom" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > DROP BROOM | ||
| CF | | ||
| CF | Dropped. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is flooded. Electric arcs jump | ||
| CF | out of the water, meaning it's electrified. The one to the south is | ||
| CF | empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is flooded. Electric arcs jump | ||
| CF | out of the water, meaning it's electrified. The one to the south is | ||
| CF | empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | I can see a mangy broom here. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x broom" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X BROOM | ||
| CF | | ||
| CF | Not even the old coal lady would use it. It's reduced to a metal pole | ||
| CF | with a few tufts of brush on top. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take it" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > TAKE IT | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | DavidW says, "If it's now a magnet, it's not obviously so." | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the northeast and south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | In the southern tank, five feet from the nearest edge, a metal panel | ||
| CF | floats on the contaminated water. A red rectangle the size of a | ||
| CF | business card is clearly visible on the panel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take panel with broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TAKE PANEL WITH BROOM | ||
| CF | | ||
| CF | Impossible, it doesn't have a hook. | ||
| CF | | ||
| CF | > | Jacqueline says, "meh" | |
| DavidW says (to ClubFloyd), "touch panel with broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TOUCH PANEL WITH BROOM | ||
| CF | | ||
| CF | I only understood you as far as "touch panel" but then you lost me. | ||
| CF | | ||
| CF | > | Jade says, "clubhouse" | |
| DavidW says (to ClubFloyd), "put broom on panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUT BROOM ON PANEL | ||
| CF | | ||
| CF | The panel is out of range. | ||
| CF | | ||
| CF | > | ||
| Jade has arrived. | ||
| DavidW says (to ClubFloyd), "jump to panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > JUMP TO PANEL | ||
| CF | | ||
| CF | I think you wanted to say "jump". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "jump" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > JUMP | ||
| CF | | ||
| CF | Pointless fatigue. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | I can only go north and south into the two nearest tanks. | ||
| CF | | ||
| CF | > | Jade says, "hello" | |
| DavidW says, "hi Jade" | ||
| DavidW says, "We're in the America part of A Train to Piccadilly." | ||
| Jade asks, "right now up is the starting time, why you have already started?" | ||
| Jacqueline says, "American daylight savings time." | ||
| DavidW says, "Daylight Standard Time started today." | ||
| Jade exclaims, "oh my god!" | ||
| Jade asks, "captain?" | ||
| Jade asks, "again?" | ||
| Jacqueline says, "North American, I mean. Apologies to my friends from the 51st state." | ||
| Jacqueline says (to Jade), "Sadly, yes." | ||
| Jade says, "ok, enjoy, I read you." | ||
| Jade says, "I betatested this one." | ||
| DavidW says, "We're not quite sure what to do about these tanks." | ||
| DavidW says (to ClubFloyd), "x broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X BROOM | ||
| CF | | ||
| CF | Not even the old coal lady would use it. It's reduced to a metal pole | ||
| CF | with a few tufts of brush on top. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pole vault" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > POLE VAULT | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | DavidW says, "If we could jump across from one catwalk to another, we'd have more options." | |
| DavidW says (to ClubFloyd), "look up" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > LOOK UP | ||
| CF | | ||
| CF | A look in that direction reveals nothing new. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | In the southern tank, five feet from the nearest edge, a metal panel | ||
| CF | floats on the contaminated water. A red rectangle the size of a | ||
| CF | business card is clearly visible on the panel. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x card" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X CARD | ||
| CF | | ||
| CF | The card has no identification marks. | ||
| CF | | ||
| CF | > | Jacqueline says, "Pole vault was a fun idea." | |
| DavidW says (to ClubFloyd), "blow panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > BLOW PANEL | ||
| CF | | ||
| CF | (first taking the floating panel) | ||
| CF | The panel is out of range. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stir water" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > STIR WATER | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "push panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH PANEL | ||
| CF | | ||
| CF | The panel is out of range. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push panel with broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH PANEL WITH BROOM | ||
| CF | | ||
| CF | With a good push I send the panel for a slide. It crosses the entire | ||
| CF | tank diagonally, until it hits the opposite edge and in doing so takes | ||
| CF | on water. In a few seconds it disappears to the bottom. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "push panel with broom" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH PANEL WITH BROOM | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | Jacqueline says, "Timing" | |
| Jacqueline asks, "Wait. Is that good or bad?" | ||
| Roger says, "it's great" | ||
| Jacqueline says (to Tony), "Okay." | ||
| Jacqueline says, "One suspects that David is making notes." | ||
| DavidW asks, "I'm not so sure. We still have no way to reach the card, and if that water is electrified, won't that make the card useless?" | ||
| Jacqueline asks, "Swap the water to the other tank?" | ||
| DavidW says, "But it feels like advancement." | ||
| Jacqueline asks, "De-electrify it. Get in. Profit?" | ||
| DavidW says, "There's no button on the south, just a geiger counter." | ||
| Roger says, "We can just walk into the tank, can't we" | ||
| DavidW says, "The water is already de-electrified." | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | The tank is completely full of water, probably contaminated. I can't | ||
| CF | get in. | ||
| CF | | ||
| CF | > | Roger says, "after it's empty, I mean" | |
| DavidW asks, "how do we empty it?" | ||
| Roger says, "with the button pushing stuff" | ||
| Jade says, "USA is the easier and shorter part." | ||
| DavidW says, "sigh. I don't see how to do this." | ||
| Roger says, "Isn't that how that works? I may be misunderstanding" | ||
| DavidW says, "Look, there's four tanks and three buttons and a geiger counter." | ||
| Roger says, "ah -- I thought there was only two tanks, for some reason." | ||
| DavidW says, "They're all in a circle." | ||
| DavidW says, "We've never been able to enter or empty the tank where the card is." | ||
| DavidW says (to ClubFloyd), "push save" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH SAVE | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf20" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [US] CATWALKL | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Roger says, "If it's just one volume of water that gets pumped around, maybe it'll carry the card to somewhere useful eventually" | |
| Jacqueline says, "Oh - that's a thought." | ||
| DavidW says, "oh, I didn't think of that." | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the northeast and south. | ||
| CF | | ||
| CF | > | Jade says, "The card has travelled, find it." | |
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The southeast one is flooded. The one to the | ||
| CF | southwest is empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The southeast one is empty, with no trace of | ||
| CF | electrical activity. The one to the southwest is flooded. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is flooded. Electric arcs jump | ||
| CF | out of the water, meaning it's electrified. The one to the south is | ||
| CF | empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | The south side of this elevated walkway opens to the northeast and | ||
| CF | northwest onto two mirrored openings that overlook insulated tanks. | ||
| CF | The northern passage is blocked, as the suspension bridge has | ||
| CF | collapsed. The southeast door is permanently closed, I believe since | ||
| CF | 1947. To the southwest is a useless storage room. | ||
| CF | | ||
| CF | A Geiger counter has been applied to the south wall. It seems to be | ||
| CF | still active. | ||
| CF | | ||
| CF | The red rectangle slipped off the panel and landed on the edge of the | ||
| CF | northwest tank. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take rectangle" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > TAKE RECTANGLE | ||
| CF | | ||
| CF | I pick up the red rectangle and discover that it is a magnetic card. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf21" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [US] CATWALKL | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Jacqueline says, "woo" | |
| Roger says, "Not sure quite what happened but glad that worked out" | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The northwest one is flooded. Electric arcs | ||
| CF | jump out of the water, meaning it's electrified. The one to the | ||
| CF | northeast is empty, with no trace of electrical activity. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the southwest and north. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | Jade says, "The card has travelled, find it" | |
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put card in slot" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUT CARD IN SLOT | ||
| CF | | ||
| CF | The card goes in right, but nothing happens. There is probably no | ||
| CF | power. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a red card, a mangy broom, a Trinity box, a *Tourbillon, | ||
| CF | a *Carillon, a torture diary, an apple, a cross-stitch embroidery and | ||
| CF | a poker. | ||
| CF | | ||
| CF | > | DavidW asks, "So there's a working light and working pumps and electrified water but no power?" | |
| Roger says, "maybe the broom can be shoved into the switch somehow so we can pull it from the top, or something similar" | ||
| Roger says, "pushing stuff with the broom seems to be working" | ||
| DavidW asks, "If pushing the switch by hand doesn't work, why would the broom be better?" | ||
| Roger says, "well we could do it while the tank is electrified, which seemed to be an issue last time, is what I'm thinking" | ||
| DavidW says, "I'm not following what the suggestion is." | ||
| Roger says, "get the tank with the switch electrified, and then try pushing the switch with the broom, possibly from above on a catwalk" | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x switch" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X SWITCH | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | Jacqueline says (to Roger), "The broom is metal." | |
| DavidW says, "I don't see the switch from the catwalks." | ||
| Jacqueline says, "Oh, you aren't talking about sticking it in the water. Never mind." | ||
| Roger says, "yeah but it's got some branchy bits! That'll keep us OSHA compliant" | ||
| Jacqueline says (to Roger), "haha" | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | Jacqueline says (to Roger), "Shake hands with Danger, man." | |
| DavidW says (to ClubFloyd), "put broom in switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUT BROOM IN SWITCH | ||
| CF | | ||
| CF | The electrical panel can't contain things. | ||
| CF | | ||
| CF | > | Roger says, "hmmm okay well let's see if we can get down there and put the broom on the switch, or make them interact somehow" | |
| DavidW says (to ClubFloyd), "put broom on switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUT BROOM ON SWITCH | ||
| CF | | ||
| CF | I can't put things on top of that. | ||
| CF | | ||
| CF | > | Roger says, "hrmmm well that's not promising" | |
| DavidW says (to ClubFloyd), "push switch with broom" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUSH SWITCH WITH BROOM | ||
| CF | | ||
| CF | That's overcomplicated. | ||
| CF | | ||
| CF | > | ||
| Roger says (to cf), "put broom under switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUT BROOM UNDER SWITCH | ||
| CF | | ||
| CF | I think you wanted to say "put something in something". Please try | ||
| CF | again. | ||
| CF | | ||
| CF | > | Roger says, "I was thinking maybe something floaty could go under the switch, then switch it when it floated up" | |
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | ||
| Roger says (to cf), "push switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUSH SWITCH | ||
| CF | | ||
| CF | Nothing's happening. I think there's no power in this tank. | ||
| CF | | ||
| CF | > | ||
| Roger says (to cf), "x switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X SWITCH | ||
| CF | | ||
| CF | The switch on the panel is currently OFF. | ||
| CF | | ||
| CF | > | Roger says, "just wanted to check it wasn't silently checking for ownership of the keycard" | |
| DavidW says, "Somehow, I think whatever problem is wrong with the power isn't solved by pushing the switch with a Rube Goldberg device." | ||
| Jacqueline heh | ||
| Jacqueline learns how to use punctuation. | ||
| Roger says, "hmmm maybe there's clean water and dirty water? Trying to think of what the geiger counter is doing here" | ||
| DavidW says, "I'm kinda stumped." | ||
| DavidW says, "No clean water. It's all bad." | ||
| DavidW says, "I think the geiger counter is to provide the history lesson." | ||
| Roger says, "yeah. I know pushing the lightning button swaps the power around; maybe there's somewhere in the sequence where the door is powered" | ||
| DavidW says, "We can try breaking the counter and see if there's a hidden control panel behind it, I suppose." | ||
| Jacqueline says, "Interesting idea." | ||
| DavidW says, "unfortunately for us, both buttons with a lightning bolt aren't near the door." | ||
| Roger says, "hmmm can we see the caged light from the buttons? Maybe that's our indicator" | ||
| DavidW says (to ClubFloyd), "light" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > LIGHT | ||
| CF | | ||
| CF | I think you wanted to say "light something". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x light" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > X LIGHT | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There are | ||
| CF | symbols on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x light" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X LIGHT | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | DavidW says, "This is the east catwalk. The caged light and door are on the north catwalk." | |
| DavidW says (to ClubFloyd), "jam" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > JAM | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wedge" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > WEDGE | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | DavidW says, "I suppose we can see if the panel in the southwest tank floated up again and reveals anything new." | |
| DavidW says (to ClubFloyd), "push buttton" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTTON | ||
| CF | | ||
| CF | Sorry, I don't understand what "buttton" means. | ||
| CF | | ||
| CF | > | Roger says, "sure" | |
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push btton" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BTTON | ||
| CF | | ||
| CF | Sorry, I don't understand what "btton" means. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet. Elevated walkways | ||
| CF | are located to the northeast and south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the north and south onto | ||
| CF | two mirrored openings that overlook insulated tanks. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x panel" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X PANEL | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in south tank" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > LOOK IN SOUTH TANK | ||
| CF | | ||
| CF | I think you wanted to say "look in something". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in tank" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > LOOK IN TANK | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, with no trace of | ||
| CF | electrical activity. The one to the south is flooded. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | The tank is completely full of water, probably contaminated. I can't | ||
| CF | get in. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "jump south" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > JUMP SOUTH | ||
| CF | | ||
| CF | I think you wanted to say "jump". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "jump" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > JUMP | ||
| CF | | ||
| CF | Pointless fatigue. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tanks" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > X TANKS | ||
| CF | | ||
| CF | Two tanks are accessible. The north one is empty, but electric arcs | ||
| CF | run through its floor, meaning it's electrified. The one to the south | ||
| CF | is flooded. Electric arcs jump out of the water, meaning it's | ||
| CF | electrified. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet, but not enough to | ||
| CF | be dangerous despite the electric arcs that occasionally appear on it. | ||
| CF | Elevated walkways are located to the northeast and south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a red light. | ||
| CF | | ||
| CF | > | DavidW says, "oh. So we can walk through an empty electrical tank." | |
| DavidW says (to ClubFloyd), "push button" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH BUTTON | ||
| CF | | ||
| CF | A loud noise comes from everywhere in the building. I have no idea | ||
| CF | what happened, but something did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "se" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > SE | ||
| CF | | ||
| CF | [US] TANK | ||
| CF | A tank completely lined with lead. The floor is wet, but not enough to | ||
| CF | be dangerous despite the electric arcs that occasionally appear on it. | ||
| CF | Elevated walkways are located to the south and northwest. | ||
| CF | | ||
| CF | In one corner of the tank lies an electrical panel, with its switch | ||
| CF | positioned on OFF. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push switch" | ||
| CF ] [US] TANKALKL | ||
| CF | | ||
| CF | > PUSH SWITCH | ||
| CF | | ||
| CF | The switch snaps to ON. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [US] CATWALK | ||
| CF | This section of the elevated walkway opens to the southeast and | ||
| CF | southwest onto two mirrored openings that overlook insulated tanks. A | ||
| CF | security door is on the north wall. | ||
| CF | | ||
| CF | A really big button pops out of the wall, undisturbed. There is a | ||
| CF | symbol on the button. | ||
| CF | | ||
| CF | A cage lamp above the door emits a green light. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push card in slot" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUSH CARD IN SLOT | ||
| CF | | ||
| CF | I only understood you as far as "push" but then you lost me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put card in slot" | ||
| CF ] [US] CATWALKL | ||
| CF | | ||
| CF | > PUT CARD IN SLOT | ||
| CF | | ||
| CF | Of course. The card fits perfectly and a second later the door | ||
| CF | vibrates and burrows into the wall, sliding on its tracks. The north | ||
| CF | exit is clear. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | As I pass through the door, it closes behind me, effectively turning | ||
| CF | itself into a one-way. | ||
| CF | | ||
| CF | [US] ADVANCED LABS | ||
| CF | From the tanks area this one is disconnected, if for nothing else, by | ||
| CF | its pristine cleanliness, as if everything the outside world had ever | ||
| CF | expressed could not find its place in here. This bare corridor is all | ||
| CF | white, with no particular furnishings except for a giant and supremely | ||
| CF | deteriorated stencil writing on the wall that reads MIT CONTAMINATION | ||
| CF | AREA. On it someone, compassionately, has appended in brush strokes | ||
| CF | LIKE ANY OTHER, an unfortunate dark humor on the American situation. | ||
| CF | Walkways exit to the west, north and northeast (this last one closed | ||
| CF | by a pneumatic hatch). | ||
| CF | | ||
| CF | Another Geiger counter is installed near the northeast sliding door. | ||
| CF | This one flashes in alarm like a person in panic. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x counter" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > X COUNTER | ||
| CF | | ||
| CF | The measurement is over 10.000 microsieverts per hour: anything beyond | ||
| CF | the northeast door is lethal within seconds. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take counter" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > TAKE COUNTER | ||
| CF | | ||
| CF | It's a wall-mounted counter, not one you carry around. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a mangy broom, a Trinity box, a *Tourbillon, a | ||
| CF | *Carillon, a torture diary, an apple, a cross-stitch embroidery and a | ||
| CF | poker. | ||
| CF | | ||
| CF | > | DavidW says, "hm. we lost the card." | |
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | [US] LOCKER ROOMS | ||
| CF | All the walls are cluttered with built-in lockers, their metal | ||
| CF | surfaces now almost completely exposed from beneath the once green | ||
| CF | paint. The only exit is to the east. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x lockers" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X LOCKERS | ||
| CF | | ||
| CF | The lockers are all locked, except for a couple, of different sizes. | ||
| CF | The short one, at the back of the room, looks more like a refrigerator | ||
| CF | than anything else. The tall one, in the middle, makes its appearance | ||
| CF | because it has no door at all. | ||
| CF | | ||
| CF | Many of the lockers bear engravings made with sharp objects, probably | ||
| CF | 40 years ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x engravings" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X ENGRAVINGS | ||
| CF | | ||
| CF | The jokes are so old-fashioned and basic that they would only outrage | ||
| CF | someone in a middle school assembly. So, they are not worth reading. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read engravings" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > READ ENGRAVINGS | ||
| CF | | ||
| CF | The jokes are so old-fashioned and basic that they would only outrage | ||
| CF | someone in a middle school assembly. So, they are not worth reading. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tall" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X TALL | ||
| CF | | ||
| CF | A normal locker, from which someone has stolen the door. | ||
| CF | | ||
| CF | Hanging inside is a large, disarming-looking rubber suit. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x suit" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X SUIT | ||
| CF | | ||
| CF | It's a very bulky suit, made of many very thick rubber rings that give | ||
| CF | it a bizarre appearance to say the least. It's also very heavy, as if | ||
| CF | it were padded with iron or something similar. Someone stuck a message | ||
| CF | on it with duct tape. | ||
| CF | | ||
| CF | On one of the sleeves there is a nice hole. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read message" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > READ MESSAGE | ||
| CF | | ||
| CF | FOR GROMOV. Not very reassuring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x hole" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X HOLE | ||
| CF | | ||
| CF | A really nasty hole. And it looks like it's a through hole. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take suit" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > TAKE SUIT | ||
| CF | | ||
| CF | Taken. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x short" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X SHORT | ||
| CF | | ||
| CF | It is not, after all, a refrigerator, although it looks a lot like | ||
| CF | one. It's probably a shoe holder. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open it" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > OPEN IT | ||
| CF | | ||
| CF | As I open the short locker, a binder that was inside it falls to the | ||
| CF | floor. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take binder" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > TAKE BINDER | ||
| CF | | ||
| CF | I pick it up. It looks like a war report. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read it" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > READ IT | ||
| CF | | ||
| CF | It is a long war report. It notes the endless days before and after | ||
| CF | the nuclear attack by Nazi Germany, in 1947, just before Christmas. | ||
| CF | | ||
| CF | I browse through it slowly... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | | ||
| CF | December 14, M. Sullivan's notes. | ||
| CF | | ||
| CF | The news from overseas is alarming. The Uranprojekt has come to | ||
| CF | fruition: Heisemberg and von Weizsaecker have produced their second | ||
| CF | test in the deserts of Afghanistan, again successfully. Hitler is no | ||
| CF | longer willing to wait and seems to have given his Obersomethings the | ||
| CF | order to install one of those charges in an intercontinental rocket. | ||
| CF | It will take years for this to happen, but perhaps it is still too | ||
| CF | late for us. If we had only listened to Oppenheimer and Fermi, we | ||
| CF | would at least be ready for retaliation now. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Jade says, "read slowly, pay atention" | |
| Jacqueline leans in. | ||
| Roger says, "who the heck was Heisemberg" | ||
| DavidW says, "It's difficult to know in advance what parts of a long diary will be important." | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | December 16, M. Sullivan's notes. | ||
| CF | | ||
| CF | Life here at MIT is no different than usual. There is a martial law, | ||
| CF | but it is particularly permissive: John and Mac brought their | ||
| CF | girlfriends to the dorm last night. If Dean Compton knew, he would | ||
| CF | probably court-martial them. As if two girls--underage, but hey, who | ||
| CF | am I to judge?--could be spies for the Krauts. I know what Compton's | ||
| CF | problem is. I mean: his wife Alexandria checks him every time he | ||
| CF | leaves his house and, it is said, without her, ON THE CONTRARY, one | ||
| CF | does not enter his house at all. Oh well, hallway stories. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | December 19, M. Sullivan's notes. | ||
| CF | | ||
| CF | It seems we were incredibly naive. The Nazis made a show of it, they | ||
| CF | took us to the desert and there we had visions like Jesus in his time: | ||
| CF | the bomb had been ready for a long time. At least three years. The | ||
| CF | ones detonated in Kandahar were decoys. The real ones are already in | ||
| CF | the silos, ready to sail for Homeland. If what they say about this | ||
| CF | atomic bomb is true, we are done for. God help us. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Roger says, "woo sullivan is dishing the tea" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | December 24, M. Sullivan's notes. | ||
| CF | | ||
| CF | The sirens are sounding. The sky is black, but red threads like the | ||
| CF | thick teeth of a comb cross it from the east. Europe is above us, the | ||
| CF | end of time is approaching. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Jacqueline says, "heh" | |
| DavidW says, "black red east up" | ||
| Jacqueline says, "This Sullivan is so dramatic." | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | January 13, 1948. | ||
| CF | | ||
| CF | The Land of the Brave is no more. The East Coast is gone and so is | ||
| CF | much of the West Coast. The remaining Americans are holed up in the | ||
| CF | Plains. We are underground, the only survivors of the Institute, in | ||
| CF | the radiation area: the lead walls saved us, even if the food supplies | ||
| CF | ran out a while ago and out here it is all a new, frozen desert. | ||
| CF | We should have understood. When the English preached Resistance from | ||
| CF | the streets and their Kings and politicians lowered their tones, we | ||
| CF | should have understood. Chamberlain, he said that dialogue with Hitler | ||
| CF | was possible. But it wasn't like that. There was never this | ||
| CF | possibility, never hope, this we know now. We should have underst--- | ||
| CF | | ||
| CF | The diary ends here, with a handwritten note (it seems very recent) | ||
| CF | that reads: THIS STILL MAY NOT BE. | ||
| CF | | ||
| CF | > | Jacqueline exclaims, "It's good to live the Fly-Over State Life!" | |
| DavidW says (to ClubFloyd), "x short" | Jacqueline says, "Okay, so - still time to change time, I guess." | |
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X SHORT | ||
| CF | | ||
| CF | It is not, after all, a refrigerator, although it looks a lot like | ||
| CF | one. It's probably a shoe holder. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open short" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > OPEN SHORT | ||
| CF | | ||
| CF | It's already open. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in it" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > LOOK IN IT | ||
| CF | | ||
| CF | The fridge-like locker is empty. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tape" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > X TAPE | ||
| CF | | ||
| CF | FOR GROMOV. Not very reassuring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] LOCKER ROOMS | ||
| CF | All the walls are cluttered with built-in lockers, their metal | ||
| CF | surfaces now almost completely exposed from beneath the once green | ||
| CF | paint. The only exit is to the east. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search lockers" | ||
| CF ] [US] LOCKER ROOMSS | ||
| CF | | ||
| CF | > SEARCH LOCKERS | ||
| CF | | ||
| CF | The lockers are all locked, except for a couple, of different sizes. | ||
| CF | The short one, at the back of the room, looks more like a refrigerator | ||
| CF | than anything else. The tall one, in the middle, makes its appearance | ||
| CF | because it has no door at all. | ||
| CF | | ||
| CF | Many of the lockers bear engravings made with sharp objects, probably | ||
| CF | 40 years ago. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "e" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > E | ||
| CF | | ||
| CF | [US] ADVANCED LABS | ||
| CF | From the tanks area this one is disconnected, if for nothing else, by | ||
| CF | its pristine cleanliness, as if everything the outside world had ever | ||
| CF | expressed could not find its place in here. This bare corridor is all | ||
| CF | white, with no particular furnishings except for a giant and supremely | ||
| CF | deteriorated stencil writing on the wall that reads MIT CONTAMINATION | ||
| CF | AREA. On it someone, compassionately, has appended in brush strokes | ||
| CF | LIKE ANY OTHER, an unfortunate dark humor on the American situation. | ||
| CF | Walkways exit to the west, north and northeast (this last one closed | ||
| CF | by a pneumatic hatch). | ||
| CF | | ||
| CF | Another Geiger counter is installed near the northeast sliding door. | ||
| CF | This one flashes in alarm like a person in panic. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CONTROL | ||
| CF | A room of televisions, all set into the back wall like so many dead | ||
| CF | eyes. None of them show any signs of life, except for the central one, | ||
| CF | at eye level, under which something like a typewriter emerges. The | ||
| CF | room is empty. The only exit is to the south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x typewriter" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X TYPEWRITER | ||
| CF | | ||
| CF | The logo on the keyboard says: Logikautomat. It's one of those | ||
| CF | calculators I heard about back home. Someone must have stolen a | ||
| CF | prototype and brought it here. | ||
| CF | | ||
| CF | A strange typewriter, which instead of ejecting paper presents text on | ||
| CF | the screen. There are green writings that flash on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read it" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > READ IT | ||
| CF | | ||
| CF | The logo on the keyboard says: Logikautomat. It's one of those | ||
| CF | calculators I heard about back home. Someone must have stolen a | ||
| CF | prototype and brought it here. | ||
| CF | | ||
| CF | A strange typewriter, which instead of ejecting paper presents text on | ||
| CF | the screen. There are green writings that flash on it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "read writings" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > READ WRITINGS | ||
| CF | | ||
| CF | The screen is almost blank, except for a text at the bottom (HOME>) | ||
| CF | with a question mark next to it. I think it's waiting for me to type | ||
| CF | something on the keyboard. | ||
| CF | | ||
| CF | > | Jacqueline says, "hm" | |
| DavidW says (to ClubFloyd), "type dir on keyboard" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR ON KEYBOARD | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type gromov on keyboard" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE GROMOV ON KEYBOARD | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] CONTROL | ||
| CF | A room of televisions, all set into the back wall like so many dead | ||
| CF | eyes. None of them show any signs of life, except for the central one, | ||
| CF | at eye level, under which something like a typewriter emerges. The | ||
| CF | room is empty. The only exit is to the south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look under keyboard" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > LOOK UNDER KEYBOARD | ||
| CF | | ||
| CF | I find nothing special. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x diary" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X DIARY | ||
| CF | | ||
| CF | It is a torture diary. There are many pages, and I do not intend to | ||
| CF | leaf through them. On the last two, a list of names, with comments. | ||
| CF | Ominously, the names are always the same: | ||
| CF | | ||
| CF | Maksim Gromov (36), no relevance. DECEASED. | ||
| CF | Maksim Gromov (52), cf. Nemov, L. DECEASED. | ||
| CF | Maksim Gromov (23), possession of rucka (handle), seized. DECEASED. | ||
| CF | Yeseniya Gromov (34), no relevance. DECEASED. | ||
| CF | Maksim Gromov (48), received DECEASED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x binder" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X BINDER | ||
| CF | | ||
| CF | It is a long war report. It notes the endless days before and after | ||
| CF | the nuclear attack by Nazi Germany, in 1947, just before Christmas. | ||
| CF | | ||
| CF | I browse through it slowly... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | | ||
| CF | December 14, M. Sullivan's notes. | ||
| CF | | ||
| CF | The news from overseas is alarming. The Uranprojekt has come to | ||
| CF | fruition: Heisemberg and von Weizsaecker have produced their second | ||
| CF | test in the deserts of Afghanistan, again successfully. Hitler is no | ||
| CF | longer willing to wait and seems to have given his Obersomethings the | ||
| CF | order to install one of those charges in an intercontinental rocket. | ||
| CF | It will take years for this to happen, but perhaps it is still too | ||
| CF | late for us. If we had only listened to Oppenheimer and Fermi, we | ||
| CF | would at least be ready for retaliation now. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Jacqueline asks, "Had post-it notes even been invented for the purposes of poor password security yet in this spot in the timeline?" | |
| DavidW says, "probably not." | ||
| DavidW says (to ClubFloyd), "x tape" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X TAPE | ||
| CF | | ||
| CF | Please answer yes or no: | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | December 16, M. Sullivan's notes. | ||
| CF | | ||
| CF | Life here at MIT is no different than usual. There is a martial law, | ||
| CF | but it is particularly permissive: John and Mac brought their | ||
| CF | girlfriends to the dorm last night. If Dean Compton knew, he would | ||
| CF | probably court-martial them. As if two girls--underage, but hey, who | ||
| CF | am I to judge?--could be spies for the Krauts. I know what Compton's | ||
| CF | problem is. I mean: his wife Alexandria checks him every time he | ||
| CF | leaves his house and, it is said, without her, ON THE CONTRARY, one | ||
| CF | does not enter his house at all. Oh well, hallway stories. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | December 19, M. Sullivan's notes. | ||
| CF | | ||
| CF | It seems we were incredibly naive. The Nazis made a show of it, they | ||
| CF | took us to the desert and there we had visions like Jesus in his time: | ||
| CF | the bomb had been ready for a long time. At least three years. The | ||
| CF | ones detonated in Kandahar were decoys. The real ones are already in | ||
| CF | the silos, ready to sail for Homeland. If what they say about this | ||
| CF | atomic bomb is true, we are done for. God help us. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | December 24, M. Sullivan's notes. | ||
| CF | | ||
| CF | The sirens are sounding. The sky is black, but red threads like the | ||
| CF | thick teeth of a comb cross it from the east. Europe is above us, the | ||
| CF | end of time is approaching. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | January 13, 1948. | ||
| CF | | ||
| CF | The Land of the Brave is no more. The East Coast is gone and so is | ||
| CF | much of the West Coast. The remaining Americans are holed up in the | ||
| CF | Plains. We are underground, the only survivors of the Institute, in | ||
| CF | the radiation area: the lead walls saved us, even if the food supplies | ||
| CF | ran out a while ago and out here it is all a new, frozen desert. | ||
| CF | We should have understood. When the English preached Resistance from | ||
| CF | the streets and their Kings and politicians lowered their tones, we | ||
| CF | should have understood. Chamberlain, he said that dialogue with Hitler | ||
| CF | was possible. But it wasn't like that. There was never this | ||
| CF | possibility, never hope, this we know now. We should have underst--- | ||
| CF | | ||
| CF | The diary ends here, with a handwritten note (it seems very recent) | ||
| CF | that reads: THIS STILL MAY NOT BE. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type ON THE CONTRARY" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE ON THE CONTRARY | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type this still may not be" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE THIS STILL MAY NOT BE | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type on the contrary this still may not be" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE ON THE CONTRARY THIS STILL MAY NOT BE | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type look" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE LOOK | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type credits" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE CREDITS | ||
| CF | | ||
| CF | Nothing happens. If it was a password I was trying to enter, I didn't | ||
| CF | guess it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type xyzzy" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE XYZZY | ||
| CF | | ||
| CF | The box in my hands whispers: "[Sigh.]" | ||
| CF | | ||
| CF | > | Jacqueline says, "HA" | |
| Jade says, "lol" | ||
| Jacqueline says, "Well played." | ||
| DavidW says (to ClubFloyd), "type trinity" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE TRINITY | ||
| CF | | ||
| CF | Nothing happens. After all, this Trinity is from an alternate reality, | ||
| CF | isn't it? | ||
| CF | | ||
| CF | > | Jade says, "read carefully..." | |
| DavidW says, "Sorry, Jade. I see you hinting to read carefully, but nothing's obviously standing out." | ||
| DavidW says (to ClubFloyd), "type alexandria" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE ALEXANDRIA | ||
| CF | | ||
| CF | Warmer! But maybe I need to think about it more carefully. | ||
| CF | | ||
| CF | > | Roger says, "The only thing that was obvious to me is that our reality didn't have a nuclear scientist named Heisemberg" | |
| Jade says, "I didint needed a clue, but there is one. you find it out" | ||
| Roger says, "oh, did the Trinity test take place at a different location here? maybe" | ||
| DavidW says, "The prompt is HOME and we don't enter the house without Alexandria." | ||
| DavidW asks, "Does contrary mean backwards?" | ||
| Jacqueline says (to Roger), "Trinity was detonated in the US in our timeline." | ||
| DavidW says (to ClubFloyd), "type airdnaxela" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE AIRDNAXELA | ||
| CF | | ||
| CF | The password appears to be the correct one, so much so that the screen | ||
| CF | changes and shows new data. | ||
| CF | | ||
| CF | The screen now displays a list of incomprehensible acronyms. | ||
| CF | | ||
| CF | [VNT] | ||
| CF | [DIR] | ||
| CF | [DOR] | ||
| CF | [XIT] | ||
| CF | | ||
| CF | > | Jacqueline says, "oh" | |
| Jacqueline says, "Well, there you go." | ||
| Roger says, "hunh" | ||
| DavidW asks, "DIR probably means DIRECTORY, and XIT means EXIT. Not sure aobut VNT, VENT? Is DOR just DOOR?" | ||
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR PUMP ENABLED. | ||
| CF | | ||
| CF | > | Jacqueline says, "FCD#3 Vibes." | |
| Jade says, "well done" | ||
| DavidW says, "Swedish Chef, say pump dir pump" | ||
| DavidW says (to ClubFloyd), "type vnt" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE VNT | ||
| CF | | ||
| CF | CMD VNT EXE > VENT ENABLED, WIND TUNNEL PRESSURIZED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dor" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DOR | ||
| CF | | ||
| CF | CMD DOR EXE > IMPOSSIBLE, WIND TUNNEL FLOODED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type vnt" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE VNT | ||
| CF | | ||
| CF | CMD VNT EXE > VENT ENABLED, WIND TUNNEL PRESSURIZED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR VACUUM ENABLED. | ||
| CF | | ||
| CF | > | DavidW says, "uhhhh" | |
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR PUMP ENABLED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] ADVANCED LABS | ||
| CF | From the tanks area this one is disconnected, if for nothing else, by | ||
| CF | its pristine cleanliness, as if everything the outside world had ever | ||
| CF | expressed could not find its place in here. This bare corridor is all | ||
| CF | white, with no particular furnishings except for a giant and supremely | ||
| CF | deteriorated stencil writing on the wall that reads MIT CONTAMINATION | ||
| CF | AREA. On it someone, compassionately, has appended in brush strokes | ||
| CF | LIKE ANY OTHER, an unfortunate dark humor on the American situation. | ||
| CF | Walkways exit to the west, north and northeast (this last one closed | ||
| CF | by a pneumatic hatch). | ||
| CF | | ||
| CF | Another Geiger counter is installed near the northeast sliding door. | ||
| CF | This one flashes in alarm like a person in panic. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CONTROL | ||
| CF | A room of televisions, all set into the back wall like so many dead | ||
| CF | eyes. None of them show any signs of life, except for the central one, | ||
| CF | at eye level, under which something like a typewriter emerges. The | ||
| CF | room is empty. The only exit is to the south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x screen" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X SCREEN | ||
| CF | | ||
| CF | The screen now displays a list of incomprehensible acronyms. | ||
| CF | | ||
| CF | [VNT] | ||
| CF | [DIR] | ||
| CF | [DOR] | ||
| CF | [XIT] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dor" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DOR | ||
| CF | | ||
| CF | CMD DOR EXE > IMPOSSIBLE, WIND TUNNEL FLOODED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR VACUUM ENABLED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] ADVANCED LABS | ||
| CF | From the tanks area this one is disconnected, if for nothing else, by | ||
| CF | its pristine cleanliness, as if everything the outside world had ever | ||
| CF | expressed could not find its place in here. This bare corridor is all | ||
| CF | white, with no particular furnishings except for a giant and supremely | ||
| CF | deteriorated stencil writing on the wall that reads MIT CONTAMINATION | ||
| CF | AREA. On it someone, compassionately, has appended in brush strokes | ||
| CF | LIKE ANY OTHER, an unfortunate dark humor on the American situation. | ||
| CF | Walkways exit to the west, north and northeast (this last one closed | ||
| CF | by a pneumatic hatch). | ||
| CF | | ||
| CF | Another Geiger counter is installed near the northeast sliding door. | ||
| CF | This one flashes in alarm like a person in panic. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | [US] CONTROL | ||
| CF | A room of televisions, all set into the back wall like so many dead | ||
| CF | eyes. None of them show any signs of life, except for the central one, | ||
| CF | at eye level, under which something like a typewriter emerges. The | ||
| CF | room is empty. The only exit is to the south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR PUMP ENABLED. | ||
| CF | | ||
| CF | > | DavidW says, "Whatever this is doing is happening beyond that scary door." | |
| DavidW says, "And we're in overtime." | ||
| Jacqueline says, "I wasn't going to bring it up, but yes." | ||
| DavidW says (to ClubFloyd), "save" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| DavidW says (to ClubFloyd), "cftrain3" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | DavidW says, "Let's stop here." | |
| Jacqueline asks, "See you all next week?" | ||
| DavidW says, "Sure" | ||
| DavidW says, "thanks all" | ||
| Jade says, "we are at the end of the episode" | ||
| Jade says, "but GG, more next week" | ||
| Jade says, "I will try to be in time. There is no change in my timezone untill March the 30th" | ||
| DavidW says, "yeah, there has to be an endgame involving the tourbillon and the carillon and whatever the prize here is." | ||
| Jade says, "There is another ending zone after all" | ||
| Jade says, "we will see next week" | ||
| Jade says, "Stay safe, see you" | ||
| DavidW says, "bye Jade. Thanks for everything" | ||
| *** INTERLUDE BETWEEN SESSIONS *** | ||
| asparagus asks, "How was CF today? Was it still playing Piccadilly?" | ||
| DavidW says, "Yes. It went well, but we still haven't finished." | ||
| DavidW says, "We began the American section, got past the tanks and a door to the Advanced Labs and we guessed a password for the computer then stopped." | ||
| DavidW says, "There's a region with high radiation that we need to go through, and the rubber suit we found has a hole in it." | ||
| DavidW says, "I still need to update the notes from today's session; all I've added so far is the new map." | ||
| asparagus says, "Cool. I look forward to reading the transcripts once you're done. I did explore the USA, but I was obviously missing something. I think I needed to get a card from one of the tanks and couldn't work out how to open/empty that tank." | ||
| DavidW asks, "yeah, we got that card. Did you find the broom?" | ||
| asparagus says, "Nup. Was it in the room you start in? I took it at its word that the room had nothing of value in it." | ||
| DavidW says, "Well, it was fibbing ever so slightly and is in that room." | ||
| DavidW says, "And you need that broom to get the card." | ||
| asparagus says, "Fair enough. I will have another crack soon." | ||
| asparagus says, "I also need to read about that fountain more carefully. I was able to make the guard fall in, but he was able to immediatelyget out, so again, think I'm missing something." | ||
| DavidW says, "I've finished writing up my walkthrough for Pizza Delivery, so I should get back to updating the Train notes, and I still need to finish the walkhtrough for Candy Striper." | ||
| DavidW says, "yeah, after the guard falls into the fountain, you need to push him before he gets out." | ||
| DavidW says, "He goes down the drain like Violet Beauregard, but head first." | ||
| DavidW says, "It's a big drain." | ||
| asparagus says, "Fair enough. That gives me a little more to work with." | ||
| DavidW says, "You helped us plenty with that don't-type-a-colon advice." | ||
| asparagus says, "I saw itt elsewhere, but I'm glad it was of value. I had also been tripped up by it prior to seeing the hint." | ||
| DavidW says, "I think it's a serious oversight by the author to not deal with that colon. It should be accepted or the game should flat-out inform the player to not type it." | ||
| Roger says, "Or they could have hinted at it in-game easily enough" | ||
| DavidW says, "It's not a hint thing, in my opinion. At the very least, SET DIAL TO 20:10 should have issued an error message, saying the dial can only be set to numbers." | ||
| asparagus says, "Agreed." | ||
| asparagus says, "Another easy fix would be to make you have to set minute/hour hands separately." | ||
| DavidW says, "yeah, that would be fine too." | ||
| asparagus asks, "But I think you've both writen games in Inform. Is there something about parsing the time with a colon that makes it a lot more complicated than one might think?" | ||
| *** SESSION 4 *** | ||
| DavidW says, "My notes are updated at [LINK]" | ||
| Roger says, "woo thanks" | ||
| DavidW says, "You can finally see how all those catwalks and tanks fit together." | ||
| Jacqueline says, "Okay, yeah, that's super helpful." | ||
| DavidW says, "well, we're past there and it was a one-way door into the advanced labs." | ||
| Jacqueline says, "Yeah. But I just mean my brain had been unable to picture what was happening." | ||
| DavidW says, "The card was floating in the southwest tank. The tank with the power switch is the northeast one." | ||
| DavidW says, "Water was always in two tanks that are diagonal to each other, and when the water moved, it went to the other two tanks." | ||
| Jacqueline asks, "Is there any real world reason why it would be like this, or just 'it is an interactive fiction puzzle'?" | ||
| DavidW says, "I assume it's an IF puzzle and deliberately so. All the areas seem purposely artificial." | ||
| DavidW has disconnected. | ||
| DavidW has connected. | DavidW says, "darn random disconnects!" | |
| DavidW has disconnected. | ||
| DavidW has connected. | DavidW says, "uh, I was about to point out that there are hints in the game that these regions were set up on purpose for us." | |
| DavidW says, "In this region, the rubber suit has our own name on it." | ||
| DavidW says, "Someone must've put it there, knowing we were coming." | ||
| Jacqueline says, "Well, also the timeywimey thin." | ||
| Jacqueline says, "er, thing" | ||
| DavidW says, "yeah. Possibly the someone is a variant of us." | ||
| DavidW says, "It's 12. I suppose we should wait a bit for Jade. Timey wimey DST, y'know." | ||
| Jacqueline says, "Sure." | ||
| DavidW says, "When making the notes, I played slightly ahead to understand the computer we found and also how to patch the hole in the suit." | ||
| DavidW says, "I have not, however, entered the wind tunnel, although it's safe to assume something radioactive is in there." | ||
| Jacqueline says, "Okay. I'm actually fine with this." | ||
| Jacqueline says, "I'm enjoying the writing, and want to see the game." | ||
| DavidW says, "I assume there's an endgame section after this one." | ||
| DavidW says, "I'm feeling impatient. I want to plaaaaay." | ||
| DavidW says, "I'll wait four more minutes. When my clock shows 12:10, I'm a-typin'." | ||
| Jacqueline says, "Roger that, David." | ||
| DavidW asks, "I'm wondering what third thing goes with a tourbillon and a carillon. An exchangillon?" | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [US] CONTROL | ||
| CF | A room of televisions, all set into the back wall like so many dead | ||
| CF | eyes. None of them show any signs of life, except for the central one, | ||
| CF | at eye level, under which something like a typewriter emerges. The | ||
| CF | room is empty. The only exit is to the south. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x suit" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X SUIT | ||
| CF | | ||
| CF | It's a very bulky suit, made of many very thick rubber rings that give | ||
| CF | it a bizarre appearance to say the least. It's also very heavy, as if | ||
| CF | it were padded with iron or something similar. Someone stuck a message | ||
| CF | on it with duct tape. | ||
| CF | | ||
| CF | On one of the sleeves there is a nice hole. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x tape" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X TAPE | ||
| CF | | ||
| CF | FOR GROMOV. Not very reassuring. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take tape" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TAKE TAPE | ||
| CF | | ||
| CF | With a good tear I remove the message from the suit. I don't like to | ||
| CF | be identified. So to speak. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put tape on hole" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > PUT TAPE ON HOLE | ||
| CF | | ||
| CF | Sounds like an idea. The tape was pretty sturdy. Hopefully it still | ||
| CF | is. | ||
| CF | | ||
| CF | Da haben wir es! Hole taped. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x screen" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > X SCREEN | ||
| CF | | ||
| CF | The screen now displays a list of incomprehensible acronyms. | ||
| CF | | ||
| CF | [VNT] | ||
| CF | [DIR] | ||
| CF | [DOR] | ||
| CF | [XIT] | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dor" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DOR | ||
| CF | | ||
| CF | CMD DOR EXE > IMPOSSIBLE, WIND TUNNEL FLOODED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type vnt" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE VNT | ||
| CF | | ||
| CF | CMD VNT EXE > VENT ENABLED, WIND TUNNEL PRESSURIZED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR VACUUM ENABLED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type vnt" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE VNT | ||
| CF | | ||
| CF | CMD VNT EXE > VENT ENABLED, WIND TUNNEL VACUUMED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dor" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DOR | ||
| CF | | ||
| CF | CMD DOR EXE > IMPOSSIBLE, WIND TUNNEL ATMOSPHERE ZERO. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dir" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DIR | ||
| CF | | ||
| CF | CMD DIR EXE > PUMP DIR PUMP ENABLED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type vnt" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE VNT | ||
| CF | | ||
| CF | CMD VNT EXE > VENT ENABLED, WIND TUNNEL PRESSURIZED. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type dor" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > TYPE DOR | ||
| CF | | ||
| CF | CMD DOR EXE > HATCH OPENED, TUNNEL AVAILABLE FOR TEST. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wear suit" | ||
| CF ] [US] CONTROLD LABS | ||
| CF | | ||
| CF | > WEAR SUIT | ||
| CF | | ||
| CF | I am now wearing the thick rubber suit. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf22" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [US] CONTROLD LABS | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "s" | ||
| CF ] [US] ADVANCED LABS | ||
| CF | | ||
| CF | > S | ||
| CF | | ||
| CF | [US] ADVANCED LABS | ||
| CF | From the tanks area this one is disconnected, if for nothing else, by | ||
| CF | its pristine cleanliness, as if everything the outside world had ever | ||
| CF | expressed could not find its place in here. This bare corridor is all | ||
| CF | white, with no particular furnishings except for a giant and supremely | ||
| CF | deteriorated stencil writing on the wall that reads MIT CONTAMINATION | ||
| CF | AREA. On it someone, compassionately, has appended in brush strokes | ||
| CF | LIKE ANY OTHER, an unfortunate dark humor on the American situation. | ||
| CF | Walkways exit to the west, north and northeast (this last one closed | ||
| CF | by a pneumatic hatch). | ||
| CF | | ||
| CF | Another Geiger counter is installed near the northeast sliding door. | ||
| CF | This one flashes in alarm like a person in panic. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] WIND TUNNELBS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] WIND TUNNEL | ||
| CF | The tunnel cuts across the world diagonally, from southwest (where I | ||
| CF | am) to northeast, for about two hundred meters. | ||
| CF | | ||
| CF | The rubber suit seems to protect me from the radiation. However, it's | ||
| CF | best to get a move on. | ||
| CF | | ||
| CF | > | DavidW says, "ne" | |
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [US] WIND TUNNELBS | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [US] WIND TUNNEL | ||
| CF | The tunnel cuts across the world diagonally, from southwest to | ||
| CF | northeast (where I am), for about two hundred meters and ends here. A | ||
| CF | nice wall-mounted ladder leads up to some light. | ||
| CF | | ||
| CF | The rubber suit seems to protect me from the radiation. However, it's | ||
| CF | best to get a move on. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | [US] OBSERVATORY ON HELL | ||
| CF | Here I am again at home. This is what I see from my window in | ||
| CF | Friedrichshagen, on the eastern outskirts of Berlin. But even worse. | ||
| CF | It was not the tanks that leveled everything that the Reich had built. | ||
| CF | Here it was unholy fire. | ||
| CF | | ||
| CF | A stretch of gray rubble. There is nothing else. As far as the eye can | ||
| CF | see, outside this glass dome that has somehow resisted the | ||
| CF | thermonuclear fury, like human bones to the stormy horizon, in all | ||
| CF | directions. And dust, the remnants of Human Civilization. | ||
| CF | | ||
| CF | A pale sun brightens the winter. | ||
| CF | | ||
| CF | Some soul has forgotten his body, which lies a few meters from me, in | ||
| CF | the middle of the room. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x body" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > X BODY | ||
| CF | | ||
| CF | His ordinary man's uniform betrays him for what he is: another Gromov. | ||
| CF | | ||
| CF | A depression in the ground is half hidden beneath the body. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search body" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > SEARCH BODY | ||
| CF | | ||
| CF | No documents. He really is a Gromov. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x depression" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > X DEPRESSION | ||
| CF | | ||
| CF | It is half hidden under the body. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "move body" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > MOVE BODY | ||
| CF | | ||
| CF | It affects me, but I still push it enough to release the depression. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x depression" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > X DEPRESSION | ||
| CF | | ||
| CF | A rectangular depression, about the size of a cereal box. It is | ||
| CF | semi-transparent: underneath it is clearly visible an oddly shaped | ||
| CF | mechanical object, which seems to be made entirely of gold. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x object" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > X OBJECT | ||
| CF | | ||
| CF | It is difficult to identify its exact shape. | ||
| CF | | ||
| CF | > | DavidW says, "I think we need to put the Trinity box in it, and thus get the gold whatever it is." | |
| Jacqueline says, "I like some of Marco's turns of phrase that seem as though they must be a cliche, in a good way, but then I look them up and they seem to be original." | ||
| DavidW says (to ClubFloyd), "put trinity in depression" | ||
| CF ] [US] OBSERVATORY ON HELL | ||
| CF | | ||
| CF | > PUT TRINITY IN DEPRESSION | ||
| CF | | ||
| CF | The box fits perfectly into the depression, which rotates on itself | ||
| CF | and swallows it. In its place appears the object that was hiding | ||
| CF | inside: an elaborate cylinder composed of dozens of concentric rings | ||
| CF | on which the biohazard symbol has been printed. | ||
| CF | | ||
| CF | As I lose sight of the package, the space-time singularity begins to | ||
| CF | reform around me. I barely have time to catch the cylinder, before | ||
| CF | finding myself back in... | ||
| CF | | ||
| CF | [HUB] EIN ALTES WOHNZIMMER | ||
| CF | An old living room. Clean, polished, with ochre and yellow wallpaper | ||
| CF | on the walls, in vertical stripes; formica furniture; an old | ||
| CF | gramophone with a shape that is far from brutalist. And then a huge | ||
| CF | carpet, covering almost the entire floor. | ||
| CF | | ||
| CF | I can see a polished table here. | ||
| CF | | ||
| CF | The space-time distortion closes in on itself and a millionth of a | ||
| CF | second later the clear, limpid sensation of a presence that wasn't | ||
| CF | there before falls like an axe. Near the gramophone. And another, | ||
| CF | behind the gadget table... But the most important one is behind me. | ||
| CF | | ||
| CF | Another millionth of a second--which in this distortion is a whole | ||
| CF | minute long, while I am still and incapacitated--and the shadows move. | ||
| CF | I feel them, they pass through me like a warm wind. | ||
| CF | | ||
| CF | It's red, for a while. Then everything goes black--- | ||
| CF | [...] | Roger asks (of Jacq), "do you have an example?" | |
| DavidW says, "[pausing]" | ||
| Jacqueline says, "Things like, 'some soul has forgotten his body' and the other day someone was so startled that 'the red left their blood'" | ||
| Jacqueline says (to DW), "I'm ready whenever." | ||
| Roger says, "oh yeah. Okay me too" | ||
| DavidW pushes the green 'space' button. | ||
| CF | October 18, 1986. | ||
| CF | | ||
| CF | It is 6:21 in the morning. In just under forty minutes we will launch | ||
| CF | the probe into the hypertrophy of the quantum threshold. If all goes | ||
| CF | according to our calculations, we will pierce the barriers of time. | ||
| CF | What awaits us beyond we cannot even imagine. | ||
| CF | | ||
| CF | Leningrad wakes up to a fresh, blue light. At Podporogovoy Fiziki | ||
| CF | everything is ready. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | 7:00 AM. | ||
| CF | | ||
| CF | The first spark strikes in the reactor. The tachyons, superluminal, | ||
| CF | are launched into the hypertrophy. They take a negative time, so much | ||
| CF | so that when they reach it it is not yet 7:00 AM, anywhere in the | ||
| CF | world. Nanoseconds ago the threshold was torn. A few moments further | ||
| CF | back in time the light of the Other strikes us. | ||
| CF | | ||
| CF | We are recording everything, from five seconds ago and backwards. | ||
| CF | [...] | DavidW says, "Looks like I don't even get to look at that cylinder to see its name." | |
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | 6:59 AM. | ||
| CF | | ||
| CF | We are no longer in Leningrad. It's called something else. The streets | ||
| CF | are shiny, the sun is high. Flags of a single type decorate every | ||
| CF | building, every street. There is a huge face that stands out above all | ||
| CF | of them but it is not Gorbachev's. It can't be... | ||
| CF | | ||
| CF | Another wave sweeps us away: the detection instruments catch fire. It | ||
| CF | is now 6:56 AM. It is accelerating. | ||
| CF | [...] | Jacqueline asks, "Is this end game?" | |
| DavidW says, "It might be." | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | 6:50 AM | ||
| CF | | ||
| CF | My wristwatch is broken. We are in a square. Rostislav and Dmitri are | ||
| CF | here with me. I watch them in the glow of this day that never | ||
| CF | happened. | ||
| CF | | ||
| CF | 6:48 AM, a cold wind pushes us back. A newspaper flies into Rosti's | ||
| CF | face and stains his shirt. I notice only now that he is not wearing | ||
| CF | his overall. Dmitri shouts and points towards Nevsky Prospekt. The | ||
| CF | mausoleum is on fire. Warplanes are flying over the Neva. There are | ||
| CF | swastikas in the sky. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | 6:40 AM | ||
| CF | | ||
| CF | Someone shouts "The Wall has fallen." The Mausoleum is surrounded by | ||
| CF | signs selling stuff, European stuff... stuff of America. People are | ||
| CF | queuing for a purchase. Time is running backwards now: horrible | ||
| CF | buildings are falling down showing their insides like rotting bodies. | ||
| CF | Someone shouts "The Wall has fallen, the Union has fallen." | ||
| CF | | ||
| CF | It is 6:30 AM. There is a KFC in Ligovsky. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | (Now it's just dark and light and dark and light and dark and light) | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | We're back. I check if the others are okay. Yes, we are all here. I | ||
| CF | look out of the windows of the laboratoriya that Dmitri has just | ||
| CF | opened wide: the Neva shines in the sun, the Nevsky Mausoleum is still | ||
| CF | there. | ||
| CF | | ||
| CF | Rostislav slaps something on my stomach. It's the newspaper, the one | ||
| CF | that flew at him when we were... over there. It's dated yesterday, but | ||
| CF | everything written on it is... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | We saw the swastikas on the sun. It's again 6:21. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | ---the light comes back on. The room is full of assholes in Soviet | ||
| CF | uniforms. I'm in deep shit. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | The man next to the one with the rifle in his hand seems to have every | ||
| CF | intention of giving me a sermon of the sort that never ends. | ||
| CF | | ||
| CF | "Do you understand what the Parni s Vostoka discovered," he asks me, | ||
| CF | as if continuing a speech to which I did not participate. "They have | ||
| CF | seen it, you know? They have seen it all come down and being replaced | ||
| CF | by western advertising. But there was another reality beyond the | ||
| CF | threshold. One where the Soviet Empire wasn't about to fall at all, | ||
| CF | and instead: Everything. Was. Ours." He looks around, as if afraid of | ||
| CF | being caught saying something inappropriate, then corrects himself: | ||
| CF | "Of the Party, I mean." | ||
| CF | | ||
| CF | I need to find a way to get out of here quickly. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf23" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [HUB] DUNGEON | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | DavidW asks, "Dare we check our inventory?" | |
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am empty handed. | ||
| CF | | ||
| CF | "So, they had an idea. Why let it all fall apart, if another way is | ||
| CF | possible. And so, they formed the Stalnaya Gvardiya: a group of young, | ||
| CF | willing people--well, mostly young--who would go around the world | ||
| CF | looking for the pieces for the new Revolution." | ||
| CF | | ||
| CF | I have a hard time following him. In effect, the Gromovs were | ||
| CF | instruments to allow THEM to change the course of time? | ||
| CF | | ||
| CF | The guy seems to be reading my eyes, because he adds: "That's right. | ||
| CF | This is not the reality we were meant to be. This is what the Parni | ||
| CF | allowed to happen." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > X CYLINDER | ||
| CF | | ||
| CF | It's a fusion of the three objects I found: a kind of magic cylinder | ||
| CF | made of gold. | ||
| CF | | ||
| CF | A question arises spontaneously: "Those objects I had in my hands: the | ||
| CF | record with the strange girl on the cover, that watch... do they come | ||
| CF | from other realities?" | ||
| CF | | ||
| CF | He smiles. "From ONE other reality. One in which the Nazis were | ||
| CF | defeated all the way back in 1945. Would you ever believe that? Well, | ||
| CF | we believe it a lot, since that's what we've seen and experienced all | ||
| CF | our lives, up until a few months ago. But, from your point of view, | ||
| CF | somehow, I should say up until a few MINUTES AGO." | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > X MAN | ||
| CF | | ||
| CF | In the shadows they are all the same. | ||
| CF | | ||
| CF | "What do you mean?" I don't quite understand the story of the journey | ||
| CF | between realities. The man in uniform makes fun of me again and nudges | ||
| CF | the guy next to him, as if I were in the middle of a comedy routine. | ||
| CF | | ||
| CF | "I mean that without you, Maksim Gromov the Thirtieth, we wouldn't be | ||
| CF | here talking about it. It was you, among many, who brought us the | ||
| CF | pieces for the Vektor Vremeni, The Vector of Time. The Carillon to | ||
| CF | vibrate, the Tourbillon to stabilize and the Coreon to power. And... | ||
| CF | Time works in mysterious ways: someone has already made the journey | ||
| CF | and has imposed that change that did transform THAT world into THIS, | ||
| CF | the only one you know." | ||
| CF | | ||
| CF | > | Jacqueline says, "The only way to win is not to play." | |
| DavidW says, "I'm not sure." | ||
| Jacqueline asks, "Oh, you think we can still undo it all?" | ||
| DavidW says, "I'm a little unclear on what needs to be done." | ||
| Jacqueline says, "Same." | ||
| DavidW says (to ClubFloyd), "take cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TAKE CYLINDER | ||
| CF | | ||
| CF | It's not time yet. | ||
| CF | | ||
| CF | My head is spinning. The questions are pressing, and there is a | ||
| CF | strange sense of urgency. "Change?" I ask. | ||
| CF | | ||
| CF | "The single change needed to transform this continuum into what it is. | ||
| CF | The death, to be precise, of one particular human being who | ||
| CF | single-handedly managed to direct the fate of all humanity. Once he | ||
| CF | died, the Nazis did reign, only to collapse under their own | ||
| CF | weight--and that of their own megalomania, to tell the truth--leaving | ||
| CF | Europe in the hands of the Party. And, in the meantime, obliterating | ||
| CF | the eternal enemy: the United States of America. Doesn't it all sound | ||
| CF | fantastic?" | ||
| CF | | ||
| CF | > | Jacqueline says, "I was thinking 'take the cylinder and run' (I even had a bad Steve Miller joke set up for that), but now I'm not sure." | |
| DavidW says, "well, the game is saying it's not time to take the cylinder. I suppose we can only listen to this guy tell us what's what." | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Z | ||
| CF | | ||
| CF | Nothing happens. | ||
| CF | | ||
| CF | "Too fantastic," I snort. "A single man responsible of the fate of the | ||
| CF | world? A sort of super soldier?" | ||
| CF | | ||
| CF | "Oh, no, quite the opposite. A man of letters, instead, and of | ||
| CF | politics certainly. One capable of moving entire nations just by means | ||
| CF | of rhetoric. Who, however, alas, is about to have--or I should say | ||
| CF | HAD, 49 years ago--a bad accident. His plane, you should know, will | ||
| CF | blow up in April 1938. He was a fanatic of flight, I think it is right | ||
| CF | that he finds his grave there." | ||
| CF | | ||
| CF | > | Jacqueline says, "Yeah, I think there's some exposition first." | |
| DavidW says, "I wonder who this man is talking about." | ||
| DavidW says (to ClubFloyd), "z" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Z | ||
| CF | | ||
| CF | Nothing happens. | ||
| CF | | ||
| CF | I glance at the device on display on the pedestal. "And that thing | ||
| CF | there, you want to tell me, can be set to any date--like April | ||
| CF | '38--and it opens what? A dimensional door?" The Soldat doesn't | ||
| CF | understand where I'm taking him: it's a characteristic of madmen their | ||
| CF | arrogance. So he answers me. | ||
| CF | | ||
| CF | "Oh no need. The Vektor has already been set. Now all we have to do is | ||
| CF | touch it and off we go to science fiction." | ||
| CF | | ||
| CF | I guess my time has come. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "touch cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TOUCH CYLINDER | ||
| CF | | ||
| CF | And so, to hell with it. As soon as I touch the cylinder, another of | ||
| CF | the space-time magics happens and a few seconds later I find myself on | ||
| CF | the other side of the world in a sunny field. | ||
| CF | | ||
| CF | Somehow, however, I have a firing squad in front of me that beat me to | ||
| CF | it by a few minutes and now makes my body its pincushion. | ||
| CF | | ||
| CF | Maybe, just maybe, I should have thought of a way by which the | ||
| CF | shitbags wouldn't have followed me... | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Jacqueline says, "I mean, possibly the person is us." | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | I glance at the device on display on the pedestal. "And that thing | ||
| CF | there, you want to tell me, can be set to any date--like April | ||
| CF | '38--and it opens what? A dimensional door?" The Soldat doesn't | ||
| CF | understand where I'm taking him: it's a characteristic of madmen their | ||
| CF | arrogance. So he answers me. | ||
| CF | | ||
| CF | "Oh no need. The Vektor has already been set. Now all we have to do is | ||
| CF | touch it and off we go to science fiction." | ||
| CF | | ||
| CF | I guess my time has come. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > PUSH MAN | ||
| CF | | ||
| CF | Let's be serious... | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Jacqueline exclaims, "That was my thought as well!" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | DavidW says, "I'm having trouble thinking of options." | |
| DavidW says (to ClubFloyd), "man, touch cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > MAN, TOUCH CYLINDER | ||
| CF | | ||
| CF | The men in the shadows has better things to do. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "push pedestal" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > PUSH PEDESTAL | ||
| CF | | ||
| CF | And so, to hell with it. As soon as I touch the cylinder, another of | ||
| CF | the space-time magics happens and a few seconds later I find myself on | ||
| CF | the other side of the world in a sunny field. | ||
| CF | | ||
| CF | Somehow, however, I have a firing squad in front of me that beat me to | ||
| CF | it by a few minutes and now makes my body its pincushion. | ||
| CF | | ||
| CF | Maybe, just maybe, I should have thought of a way by which the | ||
| CF | shitbags wouldn't have followed me... | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | DavidW says, "seems pedestal = cylinder." | |
| Jacqueline asks, "We have no inventory, right?" | ||
| DavidW says, "correct" | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > | ||
| CF | | ||
| CF | Please answer yes or no: | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | I glance at the device on display on the pedestal. "And that thing | ||
| CF | there, you want to tell me, can be set to any date--like April | ||
| CF | '38--and it opens what? A dimensional door?" The Soldat doesn't | ||
| CF | understand where I'm taking him: it's a characteristic of madmen their | ||
| CF | arrogance. So he answers me. | ||
| CF | | ||
| CF | "Oh no need. The Vektor has already been set. Now all we have to do is | ||
| CF | touch it and off we go to science fiction." | ||
| CF | | ||
| CF | I guess my time has come. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am empty handed. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Attack him?" | |
| Jacqueline asks, "Run?" | ||
| Jacqueline says, "KISS HIM" | ||
| Jacqueline says, "Options seem limited." | ||
| DavidW says (to ClubFloyd), "kiss man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > KISS MAN | ||
| CF | | ||
| CF | Keep your mind on the game. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Jacqueline says, "BRB off to write some fiction..." | |
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > | ||
| CF | | ||
| CF | Please answer yes or no: | Roger says, "I feel like this might be a TELL ABOUT situation but that's just a vague hunch" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | DavidW asks, "What topic should we tell him about?" | |
| DavidW says (to ClubFloyd), "take rifle" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TAKE RIFLE | ||
| CF | | ||
| CF | It's more likely that IT will "get" me instead. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wait" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > WAIT | ||
| CF | | ||
| CF | Nothing happens. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw chair at man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > THROW CHAIR AT MAN | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "attack man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > ATTACK MAN | ||
| CF | | ||
| CF | Let's be serious... | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | Jacqueline says, "I wish that these prohibited moves would not trigger the end game." | |
| DavidW says (to ClubFloyd), "x newspaper" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > X NEWSPAPER | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x rifle" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > X RIFLE | ||
| CF | | ||
| CF | Pretty big. I'm looking at it from the wrong side. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | DavidW asks, "Should we try N?" | |
| Jacqueline says, "Sure" | ||
| DavidW says (to ClubFloyd), "n" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > N | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | *** DYSTOPIA HAS WON *** | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE, UNDO the last move or QUIT? | ||
| DavidW says (to ClubFloyd), "undo" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > UNDO | ||
| CF | | ||
| CF | Previous turn undone. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | That was a rhetorical question. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Jacqueline asks, "I mean, Try All The Things-- what?" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | Jacqueline says, "I mean, Dystopia Has Won seems to be the best ending yet." | |
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take time" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TAKE TIME | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "duck" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > DUCK | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "jump" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > JUMP | ||
| CF | | ||
| CF | Pointless fatigue. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "xyzzy" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > XYZZY | ||
| CF | | ||
| CF | This kind of magic has not been invented in this place and time. Yet. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Jacqueline says, "Glad we're not doing ClubFloyd right before bed, what with all this graphic pulverizing of our face with a rifle." | |
| Jacqueline asks (of DW), "Are you still maintaining a list of all the novel Xyzzy responses you encounter?" | ||
| DavidW says, "Maybe at 1pm, Jade will arrive and save us." | ||
| Jacqueline laughs. | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "kick man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > KICK MAN | ||
| CF | | ||
| CF | Let's be serious... | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ask man about cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > ASK MAN ABOUT CYLINDER | ||
| CF | | ||
| CF | [This game does not require the Ask, Tell, or Answer commands. To talk | ||
| CF | to someone, simply TALK TO (person).] | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to man" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TALK TO MAN | ||
| CF | | ||
| CF | That's what I'm doing. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "stop time" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > STOP TIME | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "break cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > BREAK CYLINDER | ||
| CF | | ||
| CF | Violence isn't the answer to this one. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | DavidW asks, "who's this Zakhar that's mentioned?" | |
| DavidW asks, "Is that the name of this guy with the rifle?" | ||
| Roger says, "yeah I think so" | ||
| Jacqueline says, "I --yeah" | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | Jacqueline says, "The guy who kills us." | |
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x zakhar" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > X ZAKHAR | ||
| CF | | ||
| CF | In the shadows they are all the same. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | DavidW says, "> pick up the phone booth and die" | |
| DavidW asks, "How was that game won, anyway?" | ||
| DavidW says (to ClubFloyd), "run" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > RUN | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "go" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > GO | ||
| CF | | ||
| CF | I think you wanted to say "go (some direction)". Please try again. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "out" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > OUT | ||
| CF | | ||
| CF | The rifle pointed at me, and curiosity, keep me from moving. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "think" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > THINK | ||
| CF | | ||
| CF | Good idea. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sing" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > SING | ||
| CF | | ||
| CF | I'm not sure I know what a song is anymore. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pray" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > PRAY | ||
| CF | | ||
| CF | The Bolsheviks abolished religions. Since then, no god is allowed to | ||
| CF | watch over us. | ||
| CF | | ||
| CF | And indeed my time has come. The guard with the rifle pulverizes my | ||
| CF | face with a direct hit. I don't know if I'm dreaming, but even without | ||
| CF | a brain I seem to hear the other man, the one of the sermon, shouting | ||
| CF | "I HAVEN'T FINISHED YET, ZAKHAR! WHY CAN'T YOU WAI--- | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | > | Jacqueline says, "Maddeningly, someone has uploaded this game profile to a site called [LINK] and... there are no hints." | |
| DavidW says, "CASA" | ||
| Jacqueline says, "I am seeing hints for earlier portions of the game on intfic, but nothing that helps us here." | ||
| Jacqueline says (to DW), "Yeah." | ||
| DavidW asks, "shall we see if the game understands HINT or HELP?" | ||
| Jacqueline says, "Ooh. Sure." | ||
| DavidW says (to ClubFloyd), "hint" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > HINT | ||
| CF | | ||
| CF | [If you're stuck and want a little nudge, try asking for help at | ||
| CF | intfiction.org, post a comment on itch.io, or write directly to the | ||
| CF | author at minnocenti(at)kidstudio.it.] | ||
| CF | | ||
| CF | > | Jacqueline says, "THANKS, MARCO" | |
| Jacqueline says, "I mean, that's an easy hint system to implement." | ||
| Jacqueline says, "Oh, you'd like help? Then go ask for some." | ||
| DavidW asks, "Have we missed a clue somewhere?" | ||
| Jacqueline says, "I should write a super fun but puzzly game and then make people dial a 1-800 or 1-900 number where they have to pay for hints, like in the old days." | ||
| DavidW says (to ClubFloyd), "touch cylinder" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TOUCH CYLINDER | ||
| CF | | ||
| CF | And so, to hell with it. As soon as I touch the cylinder, another of | ||
| CF | the space-time magics happens and a few seconds later I find myself on | ||
| CF | the other side of the world in a sunny field. | ||
| CF | | ||
| CF | Somehow, however, I have a firing squad in front of me that beat me to | ||
| CF | it by a few minutes and now makes my body its pincushion. | ||
| CF | | ||
| CF | Maybe, just maybe, I should have thought of a way by which the | ||
| CF | shitbags wouldn't have followed me... | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | Jacqueline says, "The only thing I can think of is that there must have been some important point to making us sit through all of that dialogue." | |
| DavidW asks, "should we go back to an earlier save point?" | ||
| Jacqueline says, "Maybe? I mean, this feels inevitable, but maybe it's not." | ||
| Roger asks, "wait do we need to just TAKE the thing instead of touching it?" | ||
| Jacqueline says, "Hard to take a thing without touching it." | ||
| Roger says, "yes but" | ||
| Jacqueline says, "I mean, sure. I'm ready to try anything." | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | [HUB] DUNGEON | ||
| CF | I'm Maksim Gromov, stuck in a chair in a basement with a rifle pointed | ||
| CF | at my face. | ||
| CF | | ||
| CF | A cylindrical device is on display on a pedestal five feet away from | ||
| CF | me. | ||
| CF | | ||
| CF | I glance at the device on display on the pedestal. "And that thing | ||
| CF | there, you want to tell me, can be set to any date--like April | ||
| CF | '38--and it opens what? A dimensional door?" The Soldat doesn't | ||
| CF | understand where I'm taking him: it's a characteristic of madmen their | ||
| CF | arrogance. So he answers me. | ||
| CF | | ||
| CF | "Oh no need. The Vektor has already been set. Now all we have to do is | ||
| CF | touch it and off we go to science fiction." | ||
| CF | | ||
| CF | I guess my time has come. | ||
| CF | | ||
| CF | > | Jacqueline says, "We sound smug, like we're laying a trap." | |
| Jacqueline says (to ClubFloyd), "take device" | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | > TAKE DEVICE | ||
| CF | | ||
| CF | And so, to hell with it. It's as simple as this: either one of these | ||
| CF | shitbags takes me out with a shotgun blast--game over--or that thing | ||
| CF | really does have some supernatural power, and I end up being the | ||
| CF | keystone of all existence. Only one way to find out. | ||
| CF | | ||
| CF | For all the Gromovs before me, for MY Revolution, may that God no one | ||
| CF | here dares to believe in anymore cut me some slack. One... two... | ||
| CF | [...] | ||
| Jacqueline pushes the green 'space' button. | ||
| CF ] [HUB] DUNGEON | ||
| CF | | ||
| CF | | ||
| CF | Three! With a leap I didn't even know I had in my legs, I hurl myself | ||
| CF | at the cylinder. If time could freeze right now, I'd send everyone a | ||
| CF | snapshot of their faces--their eyes wide open in disbelief at | ||
| CF | something they SOMEHOW didn't see coming. | ||
| CF | | ||
| CF | A single touch might send me back in time, but that's not what I'm | ||
| CF | after. What I want, more than anything, is to make damn sure none of | ||
| CF | these bastards follows me. That's why I hold on to the thing as if it | ||
| CF | were my very soul and take it with me. | ||
| CF | | ||
| CF | Wherever it is that I'm going... | ||
| CF | [...] | Jacqueline says, "Oh, dang it, Roger." | |
| Roger says, "awww yeah" | ||
| Jacqueline says, "You were apparently right. WTH" | ||
| DavidW says, "hooray for Roger!!!" | ||
| Roger says, "That could have been hinted better but it was sort-of hinted at, in the death message" | ||
| Jacqueline says, "I mean, yes. Hooray for Roger. Sure." | ||
| Jacqueline glares at the monitor. | ||
| DavidW says (to ClubFloyd), "push space" | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF ] | ||
| CF | | Roger says, "It could have made it clearer that there was a delay in tapping the thingy and then getting sent away without it" | |
| DavidW pushes the green 'space' button. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Somewhere in the UK, 1938. It is April 18th. | ||
| CF | | ||
| CF | | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | [UK, 1938] AIRFIELD | ||
| CF | There is so much white in the emptiness of the passage. Then, slowly, | ||
| CF | things stabilize even if the post-war darkness never fully returns. | ||
| CF | | ||
| CF | It is a splendid day, the sun shines in the sky, a calm wind sweeps | ||
| CF | this place. Which is full of people. Only the instinct of someone who | ||
| CF | has had to take refuge in the rubble all his life throws me behind | ||
| CF | some wooden crates. | ||
| CF | | ||
| CF | A few seconds of breathlessness later I realize I am in an airfield. | ||
| CF | Smooth and gray under a blue sky, the runway runs east to west. Across | ||
| CF | it, a handful of people are talking to a middle-aged man whose cigar | ||
| CF | shoots voluptuous clouds into the sky. A control tower is visible to | ||
| CF | the northeast, while a dark hangar opens to the southeast. | ||
| CF | | ||
| CF | I'm hiding behind the crates. | ||
| CF | | ||
| CF | A soldier is patrolling the entrance to the hangar. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf24" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | Jacqueline says, "huh" | |
| Jacqueline says, "Not the end game." | ||
| DavidW says (to ClubFloyd), "x me" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X ME | ||
| CF | | ||
| CF | Maksim Gromov, 32. A survivor. The world has not broken me; the war | ||
| CF | has not scattered me. I have, perhaps, one last mission. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "i" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a magic cylinder. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cylinder" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X CYLINDER | ||
| CF | | ||
| CF | It's a fusion of the three objects I found: a kind of magic cylinder | ||
| CF | made of gold. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x soldier" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X SOLDIER | ||
| CF | | ||
| CF | A soldier on patrol. Very alert, almost on edge. The visit of the man | ||
| CF | with the cigar must be a very important occasion. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Can we set it to another date?" | |
| DavidW says (to ClubFloyd), "set cylinder to March 2025" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > SET CYLINDER TO MARCH 2025 | ||
| CF | | ||
| CF | I only understood you as far as "set cylinder to march" but then you | ||
| CF | lost me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "set cylinder to 2025" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > SET CYLINDER TO 2025 | ||
| CF | | ||
| CF | No, I can't set that to anything. | ||
| CF | | ||
| CF | > | Jacqueline says, "Darn" | |
| Roger says, "I think we're hear to kill Hitler or some such" | ||
| DavidW says, "It's a mcguffin." | ||
| Roger says, "here, too" | ||
| DavidW says (to ClubFloyd), "x tower" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X TOWER | ||
| CF | | ||
| CF | Small, but functional. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x hanger" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X HANGER | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x crates" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X CRATES | ||
| CF | | ||
| CF | Wooden crates, stacked randomly. They make a great hiding place. | ||
| CF | | ||
| CF | Tucked between two of the crates is a toothed metal disc. An | ||
| CF | incredible sense of deja vu overwhelms me. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take disc" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > TAKE DISC | ||
| CF | | ||
| CF | Taken. It's time for a game. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x disc" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X DISC | ||
| CF | | ||
| CF | It looks like a frisbee compressed into a disc, with teeth added all | ||
| CF | around. Good for playing with, in a different situation than this. Or | ||
| CF | a different timeline. | ||
| CF | | ||
| CF | > | DavidW asks, "oh dear. Throw disc at soldier?" | |
| DavidW asks, "Or head for the tower?" | ||
| Jacqueline says, "eep" | ||
| Jacqueline says, "But save and try hitting the soldier, yeah" | ||
| DavidW says, "I saved when we arrived here" | ||
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf25" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw disc at soldier" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > THROW DISC AT SOLDIER | ||
| CF | | ||
| CF | In another time, another place, I have already tried similar things. | ||
| CF | Maybe this time it is enough to go in a more general direction. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw disc" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > THROW DISC | ||
| CF | | ||
| CF | Throw it where? | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "throw disc se" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > THROW DISC SE | ||
| CF | | ||
| CF | The gear flies beautifully and when it lands it composes one of those | ||
| CF | melodies that only interest guards and supervisors. The guy in front | ||
| CF | of the hangar promptly goes to investigate. In the meantime, I think | ||
| CF | it's a great idea to take the opportunity to sneak into the hangar | ||
| CF | unnoticed. | ||
| CF | | ||
| CF | [UK, 1938] HANGAR | ||
| CF | A large room with a ten-meter ceiling, exemplarily empty, except for | ||
| CF | an airplane and a series of trench bags piled haphazardly in one | ||
| CF | corner, as if the war could never develop in here. The exit is to the | ||
| CF | northwest. | ||
| CF | | ||
| CF | > | Jacqueline says, "huh" | |
| DavidW says (to ClubFloyd), "x bags" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X BAGS | ||
| CF | | ||
| CF | A bunch of sacks filled with who knows what. They really look like | ||
| CF | they were made to build a trench. | ||
| CF | | ||
| CF | An old compressor emerges from between the bags. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x compressor" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X COMPRESSOR | ||
| CF | | ||
| CF | Basically, a wheelbarrow with a motor on top and a series of pipes. | ||
| CF | One of the pipes is particularly long. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x pipe" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X PIPE | ||
| CF | | ||
| CF | It's over a meter long. A nice lever. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take pipe" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > TAKE PIPE | ||
| CF | | ||
| CF | The pipe comes off with ease. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x airplane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X AIRPLANE | ||
| CF | | ||
| CF | It is a sleek plane, with elliptical wings and a long nose. A glass | ||
| CF | hood protects its cockpit, which is now closed. | ||
| CF | | ||
| CF | I bet this is a Spitfire. Nice piece of metal. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "open cockpit" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > OPEN COCKPIT | ||
| CF | | ||
| CF | The hood is blocked, there is only a small gap. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "put pipe in gap" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > PUT PIPE IN GAP | ||
| CF | | ||
| CF | Sounds like an idea. Not without effort I manage to plant the pipe in | ||
| CF | the gap of the hood and now it sticks out of the cockpit like a | ||
| CF | placeholder. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "pull pipe" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > PULL PIPE | ||
| CF | | ||
| CF | Yes. The pipe can work very well as a lever. Just pull it to... Ich | ||
| CF | hab's geschafft! | ||
| CF | | ||
| CF | The cockpit is now open. Inside I find a nice British uniform. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "wear uniform" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > WEAR UNIFORM | ||
| CF | | ||
| CF | (first taking the British uniform) | ||
| CF | I am now wearing the British uniform. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x it" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X IT | ||
| CF | | ||
| CF | A dark navy blue uniform. There's a hole in the right sleeve, and | ||
| CF | again that sense of deja vu. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in airplane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > LOOK IN AIRPLANE | ||
| CF | | ||
| CF | The parked airplane is empty. | ||
| CF | | ||
| CF | > | DavidW asks, "I don't think we're meant to fly it?" | |
| DavidW says (to ClubFloyd), "take pipe" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > TAKE PIPE | ||
| CF | | ||
| CF | I already have it. | ||
| CF | | ||
| CF | > | Jacqueline says, "It'd be great if we were meant to." | |
| DavidW says (to ClubFloyd), "enter plane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > ENTER PLANE | ||
| CF | | ||
| CF | I enter the parked airplane. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "fly plane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > FLY PLANE | ||
| CF | | ||
| CF | That is not a verb I recognize. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "turn on plane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > TURN ON PLANE | ||
| CF | | ||
| CF | I'm not here to take flight, but to prevent it. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "out" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > OUT | ||
| CF | | ||
| CF | First, I'd have to leave the parked airplane. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "leave plane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > LEAVE PLANE | ||
| CF | | ||
| CF | I leave the parked airplane. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search plane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > SEARCH PLANE | ||
| CF | | ||
| CF | The parked airplane is empty. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "close cockpit" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > CLOSE COCKPIT | ||
| CF | | ||
| CF | I see no reason. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "hit plane with pipe" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > HIT PLANE WITH PIPE | ||
| CF | | ||
| CF | Violence isn't the answer to this one. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x wing" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X WING | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | Jacqueline says (to DW), "This isn't Star Wars." | |
| DavidW asks, "I didn't think it was?" | ||
| Jacqueline says, "Sorry. Bad X-Wing joke." | ||
| DavidW says, "oh. gotcha" | ||
| Jacqueline says, "Roger hasn't spoken in a while, I felt we needed a dad joke." | ||
| DavidW asks, "um, do we head to the tower?" | ||
| Jacqueline says, "Well, seems we're supposed to sabotage the plane." | ||
| DavidW says (to ClubFloyd), "x plane" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X PLANE | ||
| CF | | ||
| CF | It is a sleek plane, with elliptical wings and a long nose. A glass | ||
| CF | hood protects its cockpit, which is now open. | ||
| CF | | ||
| CF | I bet this is a Spitfire. Nice piece of metal. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x nose" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X NOSE | ||
| CF | | ||
| CF | It is a sleek plane, with elliptical wings and a long nose. A glass | ||
| CF | hood protects its cockpit, which is now open. | ||
| CF | | ||
| CF | I bet this is a Spitfire. Nice piece of metal. | ||
| CF | | ||
| CF | > | DavidW says, "It's not obvious how." | |
| Jacqueline says, "A glass hood sounds silly and fragile and not useful." | ||
| Jacqueline says (to ClubFloyd), "break hood with pipe" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > BREAK HOOD WITH PIPE | ||
| CF | | ||
| CF | Violence isn't the answer to this one. | ||
| CF | | ||
| CF | > | Jacqueline says (to Game), "It could be, though." | |
| Jacqueline says (to ClubFloyd), "i" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > I | ||
| CF | | ||
| CF | I am carrying a British uniform (worn), a long pipe and a magic | ||
| CF | cylinder. | ||
| CF | | ||
| CF | > | ||
| Jacqueline says (to ClubFloyd), "x engine" | ||
| CF ] [UK, 1938] HANGARLD | ||
| CF | | ||
| CF | > X ENGINE | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | DavidW says, "I don't think we do the job with brute force." | |
| Jacqueline says, "Oh, glass on the cockpit, not the engine compartment. I misread." | ||
| DavidW says, "There's also a lack of detail to this thing." | ||
| Jacqueline says, "Sure, head elsewhere for now." | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK, 1938] AIRFIELD | ||
| CF | Smooth and gray under a blue sky, the runway runs east to west. Across | ||
| CF | it, a handful of people are talking to a middle-aged man whose cigar | ||
| CF | shoots voluptuous clouds into the sky. A control tower is visible to | ||
| CF | the northeast, while a dark hangar opens to the southeast. | ||
| CF | | ||
| CF | A soldier is patrolling the entrance to the hangar. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "talk to soldier" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > TALK TO SOLDIER | ||
| CF | | ||
| CF | I don't know if that's the case: even though I know English very well, | ||
| CF | my German accent would give me away. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x people" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X PEOPLE | ||
| CF | | ||
| CF | Except for the man with the cigar, everyone else looks like a British | ||
| CF | Navy soldier. I am certain that the saboteur is among them, but how | ||
| CF | can I tell him apart? In those uniforms, they all look the same. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "w" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > W | ||
| CF | | ||
| CF | There is a control tower to the northeast and a hangar to the | ||
| CF | southeast. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x man" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X MAN | ||
| CF | | ||
| CF | Medium height, plus size. He has a regality that must have been | ||
| CF | conferred by a life of study. As well as by a somewhat upper-class | ||
| CF | lineage. He never smiles; a certain charisma betrays a noble soul. The | ||
| CF | cigar never slips from his mouth. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x cigar" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > X CIGAR | ||
| CF | | ||
| CF | That cigar is a cumbersome presence, as much as and perhaps more than | ||
| CF | the person who smokes it. One day, who knows, it could become an icon. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take icon" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > TAKE ICON | ||
| CF | | ||
| CF | Sorry, I don't understand what "icon" means. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take cigar" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > TAKE CIGAR | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search men" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > SEARCH MEN | ||
| CF | | ||
| CF | I can't see any such thing. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "search people" | ||
| CF ] [UK, 1938] AIRFIELD | ||
| CF | | ||
| CF | > SEARCH PEOPLE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK, 1938] BY THE TOWER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK, 1938] BY THE TOWER | ||
| CF | I am on the runway. The tarmac is hot. The control tower is to the | ||
| CF | northeast. To the southwest is back to the hangar while to the | ||
| CF | northwest I can go around the people with the cigar-man and reach what | ||
| CF | I believe is his plane. | ||
| CF | | ||
| CF | > | Jacqueline asks, "So... that's Winston Churchill?" | |
| DavidW says, "I guess so, yes." | ||
| DavidW says, "also, the target plane is not the first one we saw." | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK, 1938] CONTROL TOWER | ||
| CF | At the end of a short staircase, I find myself on the upper floors. | ||
| CF | | ||
| CF | A decidedly spartan room, with large windows looking out over the | ||
| CF | runway and the surrounding fields for miles. A table along one wall | ||
| CF | holds a radio, a flight log, and a fixed pair of panoramic binoculars. | ||
| CF | | ||
| CF | The exit leads down. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x radio" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > X RADIO | ||
| CF | | ||
| CF | The radio for vehicle communications. The microphone shaft ends up in | ||
| CF | a bunch of disconnected wires. Someone--the saboteur, I would | ||
| CF | say--must have torn it out. | ||
| CF | | ||
| CF | A special keyboard, very similar to that terminal I found at MIT, but | ||
| CF | far more rudimentary, is connected with dozens of wires to the radio | ||
| CF | itself. I can probably still type a few commands, if not more advanced | ||
| CF | messages. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x log" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > X LOG | ||
| CF | | ||
| CF | It is a flight log of the military airport. | ||
| CF | | ||
| CF | I browse through it slowly... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | | ||
| CF | There are many pages of incomprehensible data, such as dates and times | ||
| CF | followed by acronyms and abbreviations. The most recurring words are | ||
| CF | "test" and "random". I have no idea what they mean. | ||
| CF | | ||
| CF | Some messages seem to be encrypted: perhaps they are people's names, | ||
| CF | perhaps they are acronyms, perhaps something else. Here too it goes | ||
| CF | into the incomprehensible: Ack, Toc, Harry, London, Emma. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | A page of coded commands. Most are crossed out: | ||
| CF | | ||
| CF | Runway clear: XXXXXXXX | ||
| CF | Runway occupied: ORANGES. | ||
| CF | Stable climate: XXXXXXXX | ||
| CF | Acceptable climate: XXXXXXXX | ||
| CF | Unpredictable/dangerous climate: XXXXXXXX | ||
| CF | Yellow flag: PIP | ||
| CF | | ||
| CF | There are dozens of them, but almost all are redacted. | ||
| CF | | ||
| CF | Next to the line about dangerous climate, someone drew a woman | ||
| CF | playing... the lyre. Another wave of horrible deja vu. | ||
| CF | Underneath the woman is written "Fell a soldier's heart." | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Jacqueline says, "..." | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Pages and pages of notes and diaries in English. Everyday stories for | ||
| CF | a military airport. It must have been boring here. | ||
| CF | | ||
| CF | Things will change, my friends. They will change a lot. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Some pages are all technical manuals. This one, for example, explains | ||
| CF | how the tanks of some models work. In the case of this illustration, | ||
| CF | there are three tanks: the first, the largest, is the "flight" one, in | ||
| CF | the sense that it is the one with direct draw (or at least that's what | ||
| CF | I understand from an all too technical English); the second is the | ||
| CF | reserve, small but still capacious. The last, very small, is the | ||
| CF | emergency one, which should never be used--in fact, very often, it is | ||
| CF | left empty. | ||
| CF | | ||
| CF | For a plane to take off without alarms, the best situation indicated, | ||
| CF | if you can't have all the tanks full, is for the flight and reserve | ||
| CF | tank to be loaded with the same amount of fuel. | ||
| CF | | ||
| CF | What a mess: it seems like a puzzle to confuse the enemy. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Jacqueline says, "We are the enemy. haha" | |
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | At the end of the log is a full page of military alphabet. Ack for A, | ||
| CF | Beer for B, then Charlie, Don, Edward, Freddie, Gee and up to Yorker | ||
| CF | and Zeta. | ||
| CF | | ||
| CF | > | DavidW says, "I guess at some point we spell out something with a radio alphabet, one letter at a time by name." | |
| Jacqueline sighs. "Yeah." | ||
| DavidW says, "ATHLE doesn't seem to be a word, though." | ||
| DavidW says (to ClubFloyd), "x binoculars" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > X BINOCULARS | ||
| CF | | ||
| CF | A fixed, rotating pair of binoculars to see up close what's out there. | ||
| CF | I can look in them and investigate a little. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "take them" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TAKE THEM | ||
| CF | | ||
| CF | They're hardly portable. | ||
| CF | | ||
| CF | > | Jacqueline says, "I know the current alphabet, but not this one from '38." | |
| DavidW says (to ClubFloyd), "look in them" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > LOOK IN THEM | ||
| CF | | ||
| CF | With the binoculars I can see the whole area. From here, the man with | ||
| CF | the cigar looks even bigger. To his north is a plane ready for | ||
| CF | takeoff, and that must make him very happy. | ||
| CF | | ||
| CF | Turning toward the start of the runway, I can see a lamp hanging on a | ||
| CF | pole. It's green right now. | ||
| CF | | ||
| CF | No obvious sign of the saboteur, even from up here. | ||
| CF | | ||
| CF | > | Jacqueline says, "I found this alphabet, though." | |
| DavidW says, "This one might be made up for the game." | ||
| DavidW says (to ClubFloyd), "l" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > L | ||
| CF | | ||
| CF | [UK, 1938] CONTROL TOWER | ||
| CF | A decidedly spartan room, with large windows looking out over the | ||
| CF | runway and the surrounding fields for miles. A table along one wall | ||
| CF | holds a radio, a flight log, and a fixed pair of panoramic binoculars. | ||
| CF | | ||
| CF | The exit leads down. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x table" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > X TABLE | ||
| CF | | ||
| CF | Not very elaborate, not very interesting. | ||
| CF | | ||
| CF | > | Jacqueline says, "Actually, I think it might be. I am finding alphabets that are similar from that time period, but none exact." | |
| DavidW says (to ClubFloyd), "look under table" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > LOOK UNDER TABLE | ||
| CF | | ||
| CF | No need to concern myself with that. | ||
| CF | | ||
| CF | > | DavidW asks, "Shall we visit the plane?" | |
| Jacqueline asks, "Should we take those things?" | ||
| DavidW says, "The radio and binoculars aren't portable." | ||
| Jacqueline says, "Oh. Sorry. Missed that." | ||
| DavidW says, "And I don't think it helps to take the log, really" | ||
| DavidW says (to ClubFloyd), "take log" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TAKE LOG | ||
| CF | | ||
| CF | Better to leave it where it is. | ||
| CF | | ||
| CF | > | Jacqueline asks, "Did you read it?" | |
| DavidW says, "uh, yes." | ||
| Jade says, "hello, I see you go on playing ATTP" | ||
| Jacqueline says, "Oh, that's the jibberish thing I didn't understand. Got it." | ||
| DavidW says, "hey Jade" | ||
| Jacqueline says, "Hey Jade." | ||
| Jacqueline asks, "Yeah, we're an hour and a half in. When does your time shift?" | ||
| Jade says, "piece of cake" | ||
| DavidW says, "f d" | ||
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK, 1938] BY THE TOWERR | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | [UK, 1938] BY THE TOWER | ||
| CF | I am on the runway. The tarmac is hot. The control tower is to the | ||
| CF | northeast. To the southwest is back to the hangar while to the | ||
| CF | northwest I can go around the people with the cigar-man and reach what | ||
| CF | I believe is his plane. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK, 1938] BY THE TOWERR | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | Existence is a matter of minutes: in the end, even the longest epics | ||
| CF | are played out between the small hands. This time, every little delay | ||
| CF | accumulated makes me get by the man with the cigar's plane just a few | ||
| CF | turns of the clock too late. When I'm within earshot, it begins to | ||
| CF | take off. History waits for no one and trying to shout STOP at a group | ||
| CF | of British soldiers doesn't prove particularly functional to my cause. | ||
| CF | | ||
| CF | At least, this time, it's bullets from His Britannic Majesty that take | ||
| CF | me off the stage. | ||
| CF | | ||
| CF | [I'm dead, it looks like. Want to try again? Y/N] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] BY THE TOWERR | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | [Last command undone] | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] BY THE TOWER | ||
| CF | [UK, 1938] BY THE TOWER | ||
| CF | I am on the runway. The tarmac is hot. The control tower is to the | ||
| CF | northeast. To the southwest is back to the hangar while to the | ||
| CF | northwest I can go around the people with the cigar-man and reach what | ||
| CF | I believe is his plane. | ||
| CF | | ||
| CF | > | Jacqueline says, "whoops" | |
| DavidW says, "ok, going to Churchill's plane is a very bad idea." | ||
| Jacqueline says, "Yes" | ||
| DavidW says (to ClubFloyd), "u" | ||
| CF ] [UK, 1938] BY THE TOWER | ||
| CF | | ||
| CF | > U | ||
| CF | | ||
| CF | I can go northeast, northwest and southwest. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK, 1938] CONTROL TOWER | ||
| CF | A decidedly spartan room, with large windows looking out over the | ||
| CF | runway and the surrounding fields for miles. A table along one wall | ||
| CF | holds a radio, a flight log, and a fixed pair of panoramic binoculars. | ||
| CF | | ||
| CF | The exit leads down. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x log" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > X LOG | ||
| CF | | ||
| CF | It is a flight log of the military airport. | ||
| CF | | ||
| CF | I browse through it slowly... | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | | ||
| CF | There are many pages of incomprehensible data, such as dates and times | ||
| CF | followed by acronyms and abbreviations. The most recurring words are | ||
| CF | "test" and "random". I have no idea what they mean. | ||
| CF | | ||
| CF | Some messages seem to be encrypted: perhaps they are people's names, | ||
| CF | perhaps they are acronyms, perhaps something else. Here too it goes | ||
| CF | into the incomprehensible: Ack, Toc, Harry, London, Emma. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | A page of coded commands. Most are crossed out: | ||
| CF | | ||
| CF | Runway clear: XXXXXXXX | ||
| CF | Runway occupied: ORANGES. | ||
| CF | Stable climate: XXXXXXXX | ||
| CF | Acceptable climate: XXXXXXXX | ||
| CF | Unpredictable/dangerous climate: XXXXXXXX | ||
| CF | Yellow flag: PIP | ||
| CF | | ||
| CF | There are dozens of them, but almost all are redacted. | ||
| CF | | ||
| CF | Next to the line about dangerous climate, someone drew a woman | ||
| CF | playing... the lyre. Another wave of horrible deja vu. | ||
| CF | Underneath the woman is written "Fell a soldier's heart." | ||
| CF | | ||
| CF | [Continue? (Y/N)] | Jacqueline says, "There is probably a clue in all of this." | |
| DavidW has disconnected. | ||
| DavidW has connected. | DavidW says, "sorry, got disconnected." | |
| DavidW says, "I'm thinking the woman's name from the fountain might be the code with need." | ||
| Jacqueline asks, "Trying to remember what it is. Want me to go back to that bit and check?" | ||
| DavidW | A brass plaque reads THE LASS O' FYVIE. | ||
| Jacqueline says, "Ah yeah" | ||
| DavidW says, "I don't see how that helps." | ||
| DavidW says, "We don't have the radio letters for V or I." | ||
| Jade has arrived. | DavidW says, "hey again Jade" | |
| Jacqueline says, "Try Vic and Ink" | ||
| Jade says, "I Just arrived at home" | ||
| DavidW says (to ClubFloyd), "type freddie" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TYPE FREDDIE | ||
| CF | | ||
| CF | Please answer yes or no: | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Pages and pages of notes and diaries in English. Everyday stories for | ||
| CF | a military airport. It must have been boring here. | ||
| CF | | ||
| CF | Things will change, my friends. They will change a lot. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | Some pages are all technical manuals. This one, for example, explains | ||
| CF | how the tanks of some models work. In the case of this illustration, | ||
| CF | there are three tanks: the first, the largest, is the "flight" one, in | ||
| CF | the sense that it is the one with direct draw (or at least that's what | ||
| CF | I understand from an all too technical English); the second is the | ||
| CF | reserve, small but still capacious. The last, very small, is the | ||
| CF | emergency one, which should never be used--in fact, very often, it is | ||
| CF | left empty. | ||
| CF | | ||
| CF | For a plane to take off without alarms, the best situation indicated, | ||
| CF | if you can't have all the tanks full, is for the flight and reserve | ||
| CF | tank to be loaded with the same amount of fuel. | ||
| CF | | ||
| CF | What a mess: it seems like a puzzle to confuse the enemy. | ||
| CF | | ||
| CF | [Continue? (Y/N)] | ||
| DavidW says (to ClubFloyd), "y" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > Y | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | At the end of the log is a full page of military alphabet. Ack for A, | ||
| CF | Beer for B, then Charlie, Don, Edward, Freddie, Gee and up to Yorker | ||
| CF | and Zeta. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type freddie" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TYPE FREDDIE | ||
| CF | | ||
| CF | The radio makes a two-tone sound, like some kind of distorted music. | ||
| CF | It's probably Morse. I have no idea what I just did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type yorker" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TYPE YORKER | ||
| CF | | ||
| CF | The radio makes a two-tone sound, like some kind of distorted music. | ||
| CF | It's probably Morse. I have no idea what I just did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type vic" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TYPE VIC | ||
| CF | | ||
| CF | The radio makes a two-tone sound, like some kind of distorted music. | ||
| CF | It's probably Morse. I have no idea what I just did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type ink" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TYPE INK | ||
| CF | | ||
| CF | The radio makes a two-tone sound, like some kind of distorted music. | ||
| CF | It's probably Morse. I have no idea what I just did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type edward" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > TYPE EDWARD | ||
| CF | | ||
| CF | The radio makes a two-tone sound, like some kind of distorted music. | ||
| CF | It's probably Morse. I have no idea what I just did. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "look in binoculars" | ||
| CF ] [UK, 1938] CONTROL TOWER | ||
| CF | | ||
| CF | > LOOK IN BINOCULARS | ||
| CF | | ||
| CF | With the binoculars I can see the whole area. From here, the man with | ||
| CF | the cigar looks even bigger. To his north is a plane ready for | ||
| CF | takeoff, and that must make him very happy. | ||
| CF | | ||
| CF | Turning toward the start of the runway, I can see a lamp hanging on a | ||
| CF | pole. It's red right now. | ||
| CF | | ||
| CF | No obvious sign of the saboteur, even from up here. | ||
| CF | | ||
| CF | > | Jacqueline says, "huh" | |
| DavidW says (to ClubFloyd), "d" | ||
| CF ] [UK, 1938] BY THE TOWERR | ||
| CF | | ||
| CF | > D | ||
| CF | | ||
| CF | [UK, 1938] BY THE TOWER | ||
| CF | I am on the runway. The tarmac is hot. The control tower is to the | ||
| CF | northeast. To the southwest is back to the hangar while to the | ||
| CF | northwest I can go around the people with the cigar-man and reach what | ||
| CF | I believe is his plane. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "sw" | ||
| CF ] [UK, 1938] AIRFIELDOWERR | ||
| CF | | ||
| CF | > SW | ||
| CF | | ||
| CF | [UK, 1938] AIRFIELD | ||
| CF | Smooth and gray under a blue sky, the runway runs east to west. Across | ||
| CF | it, a handful of people are talking to a middle-aged man whose cigar | ||
| CF | shoots voluptuous clouds into the sky. A control tower is visible to | ||
| CF | the northeast, while a dark hangar opens to the southeast. | ||
| CF | | ||
| CF | A soldier is patrolling the entrance to the hangar. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "touch cylinder" | ||
| CF ] [UK, 1938] AIRFIELDOWERR | ||
| CF | | ||
| CF | > TOUCH CYLINDER | ||
| CF | | ||
| CF | I don't feel anything unexpected. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "ne" | ||
| CF ] [UK, 1938] BY THE TOWERR | ||
| CF | | ||
| CF | > NE | ||
| CF | | ||
| CF | [UK, 1938] BY THE TOWER | ||
| CF | I am on the runway. The tarmac is hot. The control tower is to the | ||
| CF | northeast. To the southwest is back to the hangar while to the | ||
| CF | northwest I can go around the people with the cigar-man and reach what | ||
| CF | I believe is his plane. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "nw" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > NW | ||
| CF | | ||
| CF | [UK, 1938] THE EDGE | ||
| CF | I sneak up on the plane ready for take-off, on the other side of the | ||
| CF | runway. | ||
| CF | | ||
| CF | The countryside opens up to the north to infinity. This could be the | ||
| CF | outer edge of my adventure. The control tower is to the southeast. | ||
| CF | | ||
| CF | An airplane with an innovative shape is here ready for takeoff, its | ||
| CF | bulk a nice shelter from the people on the other side. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x plane" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > X PLANE | ||
| CF | | ||
| CF | It's something I've never seen. Perhaps an experimental model that the | ||
| CF | cigar man incident halted in development. A hatch on the lower part of | ||
| CF | the cockpit is surmounted by a large sticker that reads "Per Ardua Ad | ||
| CF | Astra". | ||
| CF | | ||
| CF | > | DavidW asks, "through hardship to the stars? something like that?" | |
| DavidW says (to ClubFloyd), "open hatch" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > OPEN HATCH | ||
| CF | | ||
| CF | I open the hatch. | ||
| CF | | ||
| CF | Inside, the protagonist of this story finally appears: a complex | ||
| CF | explosive device is wired to the plane's engine, ready to explode in | ||
| CF | history. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x device" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > X DEVICE | ||
| CF | | ||
| CF | The bomb is stuck in the engine and virtually impossible to remove | ||
| CF | quickly. A strange orange object is connected to it by an endless | ||
| CF | series of electrical wires. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "x orange object" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > X ORANGE OBJECT | ||
| CF | | ||
| CF | It's a rounded object, bright orange, with a small glowing screen and | ||
| CF | a keyboard with consecutive keys. I've never seen anything like it, it | ||
| CF | seems to come from the time and space of the three nexuses that I | ||
| CF | carried with me between dimensions. On the front it has the logo | ||
| CF | "Speak & Spell". | ||
| CF | | ||
| CF | Some of the keys are dirty. | ||
| CF | | ||
| CF | > | Jacqueline says, "Oh. I tried opening it with the wrong wording earlier. Darn it." | |
| DavidW says (to ClubFloyd), "x keys" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > X KEYS | ||
| CF | | ||
| CF | Some letters are dirty with grease, probably used several times by | ||
| CF | careless hands. The dirty letters are: C, H, I, L, R, U. | ||
| CF | | ||
| CF | > | Jade says, "easy" | |
| DavidW says (to ClubFloyd), "SAVE" | ||
| DavidW says (to ClubFloyd), "cf26" | ||
| CF | > | ||
| CF | > SAVE | ||
| CF | %% Enter a save filename to write: | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | Ok. | ||
| CF | | ||
| CF | > | ||
| DavidW says (to ClubFloyd), "type churchill" | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | > TYPE CHURCHILL | ||
| CF | | ||
| CF | Bingo. The password is correct, and while I can't be sure of it from | ||
| CF | the bomb's response (pretty much none, except that the Speak & Spell | ||
| CF | goes off, leaving the device in darkness), the cold warning of a gun | ||
| CF | barrel resting on the back of my neck certainly bears witness to it. | ||
| CF | | ||
| CF | I raise my hands, slowly. A voice I never thought I'd hear taunts me | ||
| CF | from behind: "You shouldn't have gotten this far..." | ||
| CF | | ||
| CF | I turn around, and see the mirror of my soul reflected in a face too | ||
| CF | tired to be real. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | | ||
| CF | "I HOPED you wouldn't make it." Lev Nemov, my contact in Berlin, looks | ||
| CF | more disconsolate than disappointed. | ||
| CF | | ||
| CF | "And what does that mean," I tease. "Where should I have stopped to | ||
| CF | take those doe eyes off your face? At any point, I would have died, | ||
| CF | right?" | ||
| CF | | ||
| CF | A smile, this time sardonic. "Well, that's true. But at least you | ||
| CF | would have saved yourself the worst part of the trip..." | ||
| CF | | ||
| CF | It's my eyes, this time, that open wide. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | | ||
| CF | "The worst part..." I want to spit in his face. I'm out of saliva. "Do | ||
| CF | you know the fucking things I've seen, this last day? Have you been | ||
| CF | there?" | ||
| CF | | ||
| CF | "No." He looks down, then points at me again. "I've only seen the part | ||
| CF | the Soviet allowed me to. And for a few days. My time is this here, | ||
| CF | not the one you lived." | ||
| CF | | ||
| CF | The chatter on the other side of the plane fades away. I don't think | ||
| CF | they heard us: maybe we've only just gotten to the goodbyes. "A world | ||
| CF | of rubble, that's what I saw," I spit in his face. "And then the world | ||
| CF | across the sea, reduced to a white desert. While you were playing the | ||
| CF | good little soldier for the wrong side of History. The one that | ||
| CF | shouldn't exist." | ||
| CF | | ||
| CF | Someone is boarding the plane on the other side. | ||
| CF | [...] | Jacqueline says, "Add 'the mirror of my soul reflected in a face too tired to be real' to the list." | |
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | | ||
| CF | "Don't talk to me like you're my boyfriend. We were comrades for only | ||
| CF | twenty minutes. And don't fool yourself: this world here isn't all | ||
| CF | roses and flowers either. War runs through the continuum seamlessly: | ||
| CF | it runs through all of us in every era. Do you know what the Wall is? | ||
| CF | You're a Berliner, you should have seen it. And you should have seen | ||
| CF | the Prague Spring, or the Hungarian conflict. Or the Irish civil war. | ||
| CF | There is no perfect world, Gromov. Not yours, not mine. There is only | ||
| CF | the possibility of implementing the one you prefer." | ||
| CF | | ||
| CF | The cockpit opens. Nemov is too busy ranting to notice. I feel the | ||
| CF | plane rise and fall behind me twice. Someone has boarded, at least two | ||
| CF | people. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | | ||
| CF | "You know my name isn't Gromov, right?" Talking, that's all I can do | ||
| CF | right now. | ||
| CF | | ||
| CF | "Yeah, and I don't give a der'mo. Who do you think cares? You're just | ||
| CF | a little pawn in a book that was never even written. Insubstantial, | ||
| CF | inconsequential, useless." Mechanical noise. Someone's going to start | ||
| CF | the plane soon. | ||
| CF | | ||
| CF | I absolutely have to do something. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] THE EDGEOWERR | ||
| CF | | ||
| CF | | ||
| CF | "If there's one thing this whole story has taught me," I tell him, | ||
| CF | giving him the biggest smile I've ever expressed, "it's that sometimes | ||
| CF | one person, no matter how insignificant, can change everything." | ||
| CF | | ||
| CF | There are many grand gestures I could show him, many of which would | ||
| CF | mean more to me than to him. In the end, I decide to use the most | ||
| CF | pragmatic one. | ||
| CF | | ||
| CF | For the Stalnaya Gvardiya, for the man who just boarded this plane, | ||
| CF | for the Revolution, with a clean slam from below, I close the hatch | ||
| CF | behind me. | ||
| CF | | ||
| CF | A second later, the plane starts and a dozen armed guards emerge and | ||
| CF | point all their guns at us. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | Gromov, my little Gromov, Maksim Gromov. I wanted you to fail, will | ||
| CF | you believe it? | ||
| CF | | ||
| CF | No, I don't believe you. I don't believe a word you say. | ||
| CF | | ||
| CF | There are shouts, then he raises the gun towards me. Half a second, | ||
| CF | and I'm gone. Time is running backwards. I don't know what year it is | ||
| CF | anymore. I don't know the day anymore. Long live the Revol--- | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | "Hit! We've hit him! Take off immediately!" | ||
| CF | | ||
| CF | "His Excellency, you must take him away! Sir Churchill, take him | ||
| CF | away!" | ||
| CF | | ||
| CF | More gunfire. I don't know how I can hear it. | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | In the end it's just silence. The plane takes the runway. I see | ||
| CF | everything through a frosted glass. | ||
| CF | | ||
| CF | A song is playing somewhere. It's the one I heard in my head as I | ||
| CF | jumped from one part of the world to another. "There's a train to | ||
| CF | Piccadilly..." | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | "And it goes, and goes, and goes..." | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | London, 1940. It's June 4th. | ||
| CF | | ||
| CF | | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF | [...] | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | I am now leaving the Underground. London is a most extraordinary city. | ||
| CF | I have spoken to the people, I have asked them what they would do in | ||
| CF | my place, whether they would stand defiant, shoulder to shoulder, | ||
| CF | against the dark tide of tyranny or bow, as Sir Neville suggests, to | ||
| CF | the yoke of surrender and shame. Their position has invigorated me. | ||
| CF | They stood unanimous and unyielding, even the women holding their | ||
| CF | babies around their necks, even the very old. | ||
| CF | | ||
| CF | "We will fight." | ||
| CF | | ||
| CF | And for how long, and how far, if they come all the way here, to our | ||
| CF | streets, to our beloved Piccadilly? | ||
| CF | | ||
| CF | "Forever." | ||
| CF | | ||
| CF | So be it, I have made up my mind. | ||
| CF | | ||
| CF | "I have, myself, full confidence that if all do their duty, if nothing | ||
| CF | is neglected, and if the best arrangements are made, as they are being | ||
| CF | made, we shall prove ourselves once again able to defend our Island | ||
| CF | home, to ride out the storm of war, and to outlive the menace of | ||
| CF | tyranny, if necessary for years, if necessary alone..." | ||
| CF | [...] | ||
| DavidW pushes the green 'space' button. | ||
| CF ] [UK, 1938] THE EDGE | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | "...We shall fight on the beaches, we shall fight on the landing | ||
| CF | grounds, we shall fight in the fields and in the streets, we shall | ||
| CF | fight in the hills. | ||
| CF | | ||
| CF | We shall never surrender." | ||
| CF | | ||
| CF | --Sir Winston Churchill | ||
| CF | Speech to the House of Commons. | ||
| CF | | ||
| CF | | ||
| CF | | ||
| CF | *** YOU HAVE RESCUED THE OLD *** | ||
| CF | | ||
| CF | | ||
| CF | Would you like to RESTART, RESTORE, UNDO the last move or QUIT? | DavidW says, "whew" | |
| Jade says, "The betatested game has another additional final part." | ||
| DavidW says, "It's done. We won. Hooray to all of us." | ||
| Jacqueline says, "HUZZAH" | ||
| DavidW asks (of Jade), "oh?" | ||
| Jade says, "Congratulations" | ||
| Jacqueline exclaims, "Very well done, DW!" | ||
| DavidW says, "thanks, but it was a group effort, truly" | ||
| Jade says, "Yes a chapter wher we had to bet out boss... Item of or so" | ||
| DavidW says, "and now I get to make a walkthrough for it!" | ||
| Jade says, "HpKrenov" | ||
| DavidW says, "I was half expecting to do a liquid meausuring puzzle with the gas tanks." | ||
