[The Island] Current Status

I'm setting this up to store some stuff. I'm not sure how useful it'll be or what all I'll put here. Please don't post to this thread.

Comments

  • edited April 2012
    CharacterPlaybookPlayer
    ------------------------------------------------------------
    MerryBattleBabeScott
    RhymeTouchstoneMichael
    PityBrainerMax
    GabeAngelRich
    BrickChopperTrevis
    AlwaysHocusDaniel
    PandoraSkinnerMichael
    with Brickwith Gabewith Merrywith Pandorawith Pitywith Rhymewith Sundown
    Brick has--+2+1+3-2=0-2
    Gabe has=0--+1+1+1+1+3
    Merry has+3=0--=0+3+1=0
    Pandora has+1+2=0--=0---2
    Pity has+2+1+3=0--+3--
    Rhyme has+2+1+1---1--=0
    Sundown has=0+1+1+3--+1--
    CoolHardHotSharpWeird
    ------------------------------------------------------------------------------
    Brick+1+3-1+1=0
    Gabe+2+1+1+2=0
    Merry+3-1+1+1+1
    Pandora=0+1+2=0+1
    Pity=0+2+1+1+3
    Rhyme+1+3+2=0-1
    Sundown=0+2+1+1+3
  • edited February 2012
    Road-hold:

    Rhyme - 1
  • edited December 2011
    Brain-opening on The Island

    For Always:

    When Always Opens His Brain to the psychic maelstrom, it's like drowning.

    And I mean, physically, it feels like drowning. Like he is in the ocean, and he can't swim, and he starts to go under, and the water comes in his nose and his mouth and it stings his eyes and he is sinking and he is sure that is going to die but he doesn't. But I also mean, mentally, it feels like drowning -- except what is pouring in through his mouth and ears and dragging him under isn't water -- it's memories. Other people's memories, bits and pieces of them. They push their way into his brain and they push out other things and while it's happening they feel like they'rehis.

    And if he's lucky and he doesn't panic and he lets it happen, the memories are relevant and beautiful and even generous, in a way. And if he's lucky and he doesn't panic then they go away in the end and what they displaced comes back to him. And if he's not lucky, if he's too afraid, if he thrashes -- then it's just like drowning again except for no good reason.

    For Merry:

    When my brain opens, I see dreams, often the dreams I had as a girl, stuff about mother and father, but lately the fog has been in the way, making it harder and harder to see, and I think bits of other people's dreams are being forced in there, replacing what I knew. Like it's difficult to see the face of my mother, her voice still rings clear but I forget... did she have brown eyes or blue?

    My dreams grow foggy and pale, everything seems far away, drowning in that fog.

    For Gabe:

    When Gabe opens himself to the psychic maelstrom, its a frightening cacophonous mess. Regardless of his focus or calrity when he opens his brain, he is assaulted with the piteous wailings and pains of all of the surrounding souls, present and past. All of their suffering and hurts and loss screaming, wailing and pulling at Gabe's psyche.

    For Pandora:

    When I open my brain, I just know things. It's like a voice speaking in the back of my head, whispering secrets. If I thought about it, I would say that the voice is my own, or maybe my mother's. But I don't think about that at all: I just treat it as my own thought, not as an external advisor.

    Sometimes it's different, when I'm in an altered state of mind, like from drugs or sleep deprivation. Then I sometimes have visions, hallucinations that I can't easily distinguish from reality. Sometimes that happens when I've been injured, too.

    For Rhyme:
    I open my brain ... It's like talking to myself - myself, and all my family. They tell me what, or often just show me: acting in unity to force the maelstrom to give up its secrets. It's not the family as we are now, you see. They're there in the future, more masterful in the maelstrom and reaching back to guide us in the present. That's what I think.
    That's what I think. I might be wrong, though, and I know that. Maybe we're all just leaving pieces of ourselves in the maelstrom, a kind of a group mind that I'm making contact with. Or maybe I'm talking to everyone's subconscious. In any case, it's like talking to the family+myself, and they know things that none of us ought to know, and they can do things to the maelstrom that I'm not sure any of us could do very repeatably.

    When they bend the maelstrom like that, to show me truths, it's all very classic sci fi psychic stuff. Seeing auras, out-of-body experiences, snatches of telepathy or precognition. That kind of thing.

    For Pity:

    For Brick:

    For Sundown:
    Sundown thinks that by opening her brain, she can commune with the ocean and receive divine guidance. It's often cryptic guidance of weird images and feelings that she needs to interpret, and it may well be the maelstrom equivalent of a numbers station, but it always conveys strong meaning to her.
  • Rhyme 13 May 2011
    As you open your brain, there's a weird perspective shift. It's like the camera's pulling back on what you're seeing and the background is all aswirl. Clarity, semi-naked and starting to make love, is the focus of the scene. But two things are different and your brain has trouble parsing what you're seeing -- it's a strictly visual phenomenon. But then they click, one after another. First, you realize that she's a giant. Not like twelve feet tall, but like instead of shoved against a rough wall, atop a barrel, she's reclining against Green Mountain and her feet are dangling into the sea. She's miles long. The second thing is that her partner in this scene is Burn. He's all chalky white but otherwise looks more fit than he ever did in real life -- like a statue or something.

    Pity 13 May 2011
    Pity, you close your eyes and sort of relax a part of your brain and your inner beach comes into focus. Is that the beach you lived on before you came to the island? There are children playing on the beach and you're sure that one of them is Monk when he was a child. it's hard to think of him as a little kid, but obviously everyone was, once. The kids are running up and down the sand as the surf rolls in, daring each other to get closer. All of a sudden, the kid behind little Monk hits him in the head with a bag of rocks and shells and Monk goes down, bleeding. He's still as the surf rolls in; over him; back out. And again. This time, it's Monk that washes away and you're panicked as you come back to this "real" beach in your tent, your heart is racing but you're gagged and bound and you can't save him and you're in substantial pain. And did I mention that you're panicked? It sucks!

    Rhyme 17 May 2011
    OK, so as you open your brain it's like a filter is applied to the video feed between your eyes and your consciousness. You see the same scene, in indistinct outlines. Everything is a deep, dark blue -- almost black, on the land. And the water's funny. The surface is mostly the same color, but with bits of light colors all over -- tiny, indistinct things. But you can see depth, too. It fades from that same dark blue to a crazily intense dark red fog, deep and out of sight. Atop this general picture are two blotches of vivid red and three that are in dull, warm red. The shark and Merry are the intense, bright ones and you watch their skirmish and then watch as the shark dives and runs until it fades into the background ruddy deeps. You can tell -- though it's not really part of this vision, just something you know, that there is some kind of struggle going on deep in the sea where the shark went.

    Always 17 May 2011
    So the memories come flooding in and you can barely cope with them, for a few seconds you think that this might be the time you actually are going to drown, but you eventually manage to get things into some kind of stable state and you're having sort of a vision. A memory. You're an old guy on rocky slope covered in high grass. You're managing a pack of dogs who herd sheep -- trying to teach them how to work better. But only a couple of the five animals are working correctly. The other three, they're willful and ignoring your commands and then, instead of driving the lamb back toward you, the three of them fall on it, snapping and biting and it goes down in mess of screams and blood. When you get close, you realize now that you started running when they first attacked, they look up with blood-covered muzzles and they're growling at you. As you start to back away from them, the tide of memories rushes back out and you're returned to your current state, cold sweat, weak knees and breathing hard.

    Pity 18 May 2011
    Pity, the beach looks different. Each grain of sand is a gear, interlocking with all the others around it somehow. And on the beach are people. They all have extremely emotional visages -- some laughing, some crying, some enraged; you name it. Then the wave washes up and drags them away. The next wave washes up and puts people back. They're all mellow. You're not sure if they're the same people or not, but they're all pretty clearly happy with their fellows. And right as the vision fades away, another thing occurs to you. There are fewer of them. Maybe half?

    Gabe 28 May 2011 (accidental)
    Gabe, your brain is wrenched open -- this isn't supposed to happen! You hear the dull roar of countless inner pains and guilts. Above it all, you hear a fellow cursing in a very strange accent. You can't make some of it out, but other bits are clear enough. He's complaining about the agony of life and being trapped and how hopeless his situation is.

    Rhyme 2 June 2011
    Rhyme. You open your brain and everything kind of starts glowing. And then the scene starts playing out really fast -- you can't really respond. As things are moving, they leave behind glowing tracers against the backdrop. First, you see the guy with no pants jump up and empty both barrels into you. You see your shot pass right through his neck and he crumples. You see more than one version of this though; in succession. First like I described, then where you miss and take another cone of buckshot, then where you both miss. The scene-play is speeding up this whole time. Then you see Pity walk down to him before he pops up and he just shoots the fuck out of her. Then you see that instead, he doesn't -- they embrace and he shoots himself. Then they embrace and start to fuck while you see to Key. You catch glimpses of the rape victim doing all manner of odd stuff: playing with the dead bodies, fucking them, attacking Pity, attacking the guy who was fucking him, and even, just leaving through the tall crack toward the beach. You see the bodies covered in crabs. They're eating them. They're carrying them away whole. They're swarming over the guy behind the rock. And you see the entire scene replayed but you're the guy behind the rock, terrified and pissed. And then everything is black and you almost fall over, but catch yourself and focus. Reality is back. There is a crab down there in the seaward crack. No, two.
  • Pity 8 June 2011
    Pity, you see your beach, but just quickly. A wave washes over the the three bodies on the beach and when the water recedes, they're gone and a single, large crab is there. I know this is impossible, even you know it's impossible -- the geometry doesn't even work, but the crab has a human face. And then it's washed away.

    Rhyme 9 June 2011
    Rhyme, Pity's eyes glow with a fierce silver light. When you look at them -- into them, you get a tickling in the back of your brain; like she's in there with you or something.

    Rhyme 23 June 2011
    Rhyme, you're looking at Pity when you open your brain and the scene changes before your eyes. Someone's turned the saturation on your vision up to twelve and it kind of hurts a little, your eyes are watering. You've seen tornadoes before -- spawned off from the edge of major storms as they blow through. They're rare, but not terribly. You notice that there's like a subliminal tornado surrounding Pity. You only see it sometimes, like looking at an optical illusion that fades in and out -- when you see it, it's clear and when you don't it's nagging at you. Anyway, you're watching this tornado appear and disappear and then you notice something else. The tornado is made up of particles and you can sort of see them. Are you going to let the vision go at that or try to press in, deeper to make out the tornado?

    Always 14 July 2011
    Sure thing, Always. You're circling Cricket's 'house' and you get so intensely into wondering about Cricket that you can barely breathe. That fear grips you. Is this the time that you're not going to be able to make it back? It's got to be one of these times. Your eyes are still open, but stinging and you kick something buried in the sand. It's this little red plastic animal. An honest-to-heavens toy -- with big, silly ears and everything. You pick it up subconsciously and a cacophony of memories about the toy flood into you. It's hard to both pick out individual threads well enough to follow them and also keep your sense of self intact. You do see Cricket -- you're sure it's him, playing with the red elephant on the beach. He's maybe three and he's with his mom and dad and they're enjoying a picnic. It's turtle days.

    Rhyme 8 August 2011
    So Rhyme, you mentioned auras and that's exactly what you get. The world stands still while Igor bursts into color and thirty years pass. For the first half or so of the show you get, it's the same old shit that you see when you're looking at auras -- shifting colors, purple, red, blue, spikes of yellow and green, whatever. Then it settles into this kind of green and red oscillation for the next half. Right at the end of the show however, it shifts. That oscillation stops and there's like this explosion of just black and it fades in to this yellow-orange. If the whole thing took a minute -- though you think it must not have been so long, that last blip took less than a quarter of a second. It's weird that you could perceive it at all, but there it is.

    Rhyme 17 August 2011
    Rhyme, you've seen puppet shows -- there're folks who stage puppet shows on the beach during Turtle Days. It's like you're seeing some old-timey puppet show. Gabe is a marionette and Road is his puppeteer. And she's making him do all kinds of outlandish things, pretty much without regard for his preferences, but maybe if he's not a real boy, it doesn't matter. You notice that the strings are glowing faintly pink and then one of them breaks. And then another. As they break, they continue to glow below the break; on Gabe's side. But not on Road's. Soon, all the strings have broken and Gabe's lying still on the stage while Road keeps acting as if she's orchestrating the show. After a while, she goes to sleep and when she wakes up, she's looking at the strings sadly, trying to figure out how to tie them back together.

    Rhyme 25 August 2011
    Rhyme, you get a movie. You hear the surf in the distance and see faces of people you know. At first, there's no reason to think of it as a movie, but still -- you know it is. Camera cuts and stuff tell you that it is. The people are just doing their thing, nothing special but then in one jerk overlayed with a wooshing sound effect, the camera zooms out and you find that the people are just rubber masks on blue and orange crabs. They're scuttling around on the rocks, doing people things; meeting and trading and having tea from little white tea-cups -- but with a disturbing non-human gait. The rocky background glows silver as the camera zooms out just a little and the plane of focus changes. The crab-people go out of focus and the rocky background resolves into human skulls. An endless field of them that turns out to be a mountain of skulls emerging from the sea. You can see the whole mountain as the camera pulls back and then does this flight around the island, spiraling inward and upward. At the peak of the skull mountain stands Pity. Or is it Sundown? You're standing with her; just behind her. But you're changing...into Gabe. And back. And forth. And then the camera shakes and the image is suddenly replaced by static that fades out to your real surroundings.

    Merry 25 August 2011
    Merry, you remember a dream from your childhood vividly -- it's weird how it takes over your mind. Your dad's out to sea but a storm blows up -- y'know faster than can really happen when you're not dreaming. When he finally comes in, it's raining like mad. You're on the beach calling and calling for him and your mom is trying to drag you away, but she can't. When you finally see him, he's ringed by a blurry halo of white. As he draws closer, the white is a small flock of gulls. They're all over his head and shoulder, wings spread and flapping. When you were a girl, it was terrifying and you didn't like the birds for a year or two afterward. Now that seems silly. It looks like they're protecting your Werner. Weird, huh? When your dad gets to shore, you embrace him of course and your mom is there too, but for some reason, you never get to see her face. But wait...is this how it happened? You don't remember this part: your mom goes swimming, out and away, heedless of the dangers -- either from the sea or the storm. And you and your dad hug; you were so scared that he'd be lost. But as you hug, you sort of melt into one another. The rain is doing this. The rain is trying to merge you two.

    Rhyme 27 August 2011
    So Rhyme, you hear this weird theremin music as a scene emerges from the silvery static that's living in your eyelids while you're blissed out. Burn is wearing this weird metal suit (What're the chances you know what plate mail is?) and riding a giant creature that looks a little like the donkeys that you know from the hillsides inland, but bigger and stronger -- there are no horses on the island, but you might have access to knowledge about them, maybe a veterinary manual or something. So Burn's riding a horse, but it's huge. And he's charging across a field with a lance lowered. And he's attacking Pandora. She's smirking, but not at him, at you. She's got your goggles and you're there, in the scene...sort of, but you have no agency. "Sorry, Rhyme, I need these more than you do. You know that Burn can't be allowed to succeed, right? If they win, it's the end."

    Pity 20 September 2011
    Pity, you're looking out over the beach. The waves are rolling in and out, of course, but it's a calm day. They're having an odd absence of effect on the painting which is on some kind of tripod, keeping it out of the water as they crash into the legs and part around them. As you're looking at the painting of you, that Gabe made, you see the you in the painting blink. And they you're wearing a knowing look on your face. And then you're back in the here and now, looking around your nascent holding.
  • edited October 2011
    Rhyme 20 September 2011
    So you're looking around, reaching into the maelstrom and at one point in your arc, the bar's wall sort of falls away and you see Cassa out in the market. There's a small crowd gathered around her. She's clearly the center of attention and it looks like she's doing shots. Then the picture desaturates and the edges of everything are replaced by these neon lines, some crazy animation. You note that Cassa's wearing a longish flowing dress. The weird thing is that it's contours don't stop where you know the dress stops. The sides of it appear to continue down and down, wider and wider like some three-year-old's drawing. Her dress merges with the island but you lose track of what's down there. And you can see a cut-away of her as she twirls and takes things from the folk around her; lungs bellowing, blood pumping -- when she swallows, her drink or whatever travels down her esophagus, but it keeps going, on and on down into the island where it's lost in the haze. And you're back. If your vision started out accurate, you can be there in three minutes without rushing.

    Merry 30 September 2011
    During a long lull in the conversation, you're scanning the ground and listening to the surf and the breeze. And the fog of your dreams rolls in over you and everything. You're still there on the beach -- you can tell from the sand under your feet but your state of mind has shifted. You hear the high-pitched rumble of several small engines just out of tune and a thing above you blows a big patch of fog away. It's a helicopter, if you know what that is, but small and home-built from island scrap. It's actually flying and there's a woman with short blonde hair wearing dirty white coveralls driving the thing. Problem is, she's on fire. The vehicle fades away. Now it never existed, except that you remember it, except that you don't, except that you do... She's still there, but now she's on the beach in front of you, in the fog, burning. She says something but you have to lean close. "Poker."

    Merry 11 October 2011
    When you open your brain, the mist is all around, blowing in the breeze, thick and heavy. But it starts to blow away and you see Gabe's house. Not like you've ever seen it before, but like some perfect, idealized vision. It's up on this beautiful foundation, freshly painted, with herbs growing out of the foundation wall. There's a little doorway under the porch where the tools get stored and there are windows in the A-frame that aren't really there -- huge glass panes that don't really exist anywhere. And then you're back. And Fraze is jumping out of his skin. "What the hell are you doing?" He sort of hops away from you and turns around, grabbing your wrist. "What was that?!? I lost my house and saw this woman in the mist under a tree..." Your wrist maybe hurts a little, but it's clear that he's not really trying to harm, or even intimidate, you.

    Pity 13 October 2011
    On that beach, you see Gabe treating a woman -- is it you? You aren't sure. She's on fire but one of the waves puts the fire out and Gabe is reaching into her and pulling the beach, up through her, she's covered in sand and it's hiding her burns. You're approaching, trying to get Gabe's attention, but he's busy and so far away. When the next wave comes in, it washes them away.

    Rhyme 21 October 2011
    Rhyme, you see four naked kids playing on the rocks above the beach. They've obviously been here a while. They've got a miniature hut built of rocks and driftwood. Right now they're throwing fist-sized stones at seagulls. But then a weird kid comes -- up out of the sea, actually. Her skin's glowing. And they seem not to know how to react. And you're kind of wondering what's going to happen when your vision ends. You're back. Now what?

    Pandora 21 October 2011
    Pandora, like you say, your brain-opening is pretty subtle stuff. I'm not sure if you know when information comes from outside yourself or you just think it's all you knowing stuff. As you start thinking about it's name, you realized above that it's likely not to have a name. That's an over-simplification. It has a nature and a sort of identity. Name is a really human concept, but you get the idea that the thing's name could be Mother.


    Pandora 26 October 2011
    Pandora, you know that if you just walk away and forget about this, doing nothing more, eventually that medusa will release Mother's psychic essence and it will either find it's way back here or it will or find some other way forward. Another body or something. So, maybe you can put it back into the maelstrom or whatever and maybe that'll take care of things. But you probably can't kill it and you probably can't contain it in that vial. You might be able to offer it some suitable other place to live if this desolate spot on the way to Titan's is bad.

    Rhyme 26 October 2011
    Rhyme, the vision that your future-family sends you is of a great transition. You see mother here on the island as it is today. And you see the area around Mother green. And you see the greening ripple outward from Mother. There are animals in the ripple too -- things you know, things you know of and things of which you have never dreamed. The new living things constantly fight to the death. It is beautiful and terrible. And as you're coming to expect, Burn is there. He is wading through the green with a machete, killing everything he can reach. And Gabe is there, putting things in cages and tossing them into the air. And Pandora is there, taking samples of the new life and storing those samples in small plastic vials. And the three of them are each asking you for help but you can only help one of them.

    Gabe 26 October 2011
    Gabe, the screaming comes on strong. The pain of the victims to death and torture here is nigh unbearable. There's no reason it should be so strong and you suppose it must be proximity to the hole in the cosmos. But you take a ragged breath and muscle through. A thing that helps you focus, helps you ignore the suffering around you, is a greater problem. There is something amiss in the world. Something new. It comes to you, not as a clear vision, but as a certainty. There is another Gabe. He is in Georgetown, healing Venom's burns. And he may have to kill you. Or you him. And it's something I'm not sure either of you have the stomach for. And for that matter, there are two Venoms now. Killing the one in the infirmary would neaten a whole bunch of things up if you could do it quietly.
  • edited February 2013
    Rhyme 31 October 2011
    Your vision gets funny. There's like this weird box around Gabe. If you've seen tracing paper, there's a rectangle of tracing paper over him so that his image is ghosted out. He's talking to the Georgie cops but it's muffled, unlike their responses. The small cop is radiating an intense blue light, especially his SMG and the handcuffs he's fingering. There's about to be a locking up or worse, you're pretty sure. And there's one other thing that the maelstrom is telling you as you look around. Brick's got this crosshairs on him. It's just like you're looking through the sights on your rifle only it's floating around -- sometimes on his head but more often drifting around on his torso. When you come back to the here and now, you're staring at Brick.

    Pity 3 November 2011
    Pity, you're thinking about Gabe and your new people and night time and Monk and Her as your mind loses focus and you return to your private beach. It's empty and dark. The moon is out and huge, hanging over the beach and casting quite a bit of light. As you're expecting, something washes up in a wave. It's like you were waiting for this. It's a girl. You, actually. And a few seconds later, another you washes up in a wave. The water washes over and around the two of you that aren't you but those girls don't seem nervous about it. They're just looking at each other, maybe talking but you can't make out the words over the surf. And then they stand up, hand in hand and perform some elaborate dance-like maneuver that you know is a ritual well-wishing to their mother before walking out of the water and onto the beach. Then they hug and begin to walk away from each other. But something unexpected happens. Two boys are there. They're both Gabe and one of them each goes to one of you. They kiss and hold each other, these two identical couples. But there's a problem. One of the couples begins to fight while the other watches. Each time the boy strikes the girl, both girls are wounded. Eventually, the you in the fight squeezes the Gabe's neck until he stops moving. The other Gabe is fine, but both of you are wounded. And for some reason, the connections are all broken. The Gabe can't be with the You. And the two of you can't be together. Everything has gone wrong and it goes dark as you fade into sleep, proper.

    Rhyme 6 December 2011
    Rhyme, this is an interesting coincidence. The vision that you get is a scene right around where you're standing. Road is here, in Georgetown, just up the block. She goes into a building -- it looks like some well-appointed office, and meets with an older woman. She's doing something funny to the woman, reaches out and closes her eyes and then going around behind her, she gives her a scalp massage. There's talking but you don't hear anything from the scene just Road in the here and now butting in, "What the fuck are you doing?" And there are other comments from the sibs; it's obvious they think this indiscretion is tacky. As Road starts kissing Allison, Clarity tells you to stop it. Later, Road is leaving Georgetown with a rather substantial rifle over her shoulder; long and with a scope.

    Sundown 6 December 2011
    the images you get are weird. You see this scene in which you're standing on the beach and making everyone go swimming. When they do, their guns and knives and chains and clubs all fall away, lost to the sea. When Road swims, a sniper rifle drifts down and away from her. There are changing colors in the margins and something about the way they shift when your looking at Road seems like there's some significance.

    Rhyme 14 December 2011
    Rhyme, you see Mister glowing and there are lines from him to a bunch of folks. To all the cops around, and to the bloody mess and to lots of little people around town. But more notably, there are these lines from him heading out of town. Out toward where the gangs live and elsewhere. There's a sort of tenuous line trying to connect him to Brick and Pan.

    Rhyme 18 December 2011
    Rhyme, you're looking down the scope of a rifle. A nice rifle with a telescopic scope, not your rifle at home. Only, you're MB. You can tell from the feel of things, maybe from the cadence of the breathing. And you're watching Gabe and Pity and Merry...I mean, not Pity, right? Sundown. You're watching them move around over on the beach and you're trying to figure out whether to shoot Pity. That's what Road asked for, but obviously not what Gabe wants. And it seems like Rhyme sided with Gabe, at least sorta. But Road, man...it's not like she'd orchestrate all this for nothing. And Gabe's a flake. And you've got Sundown targetted and your finger's twitching a little. But it's a human life on someone's word. Sure, she's a loved one, but...

    Merry 19 December 2011
    Merry, it turns out you dreamed all this. Like, a few days ago or something. You're seized by the strangest feeling that way. You can't quite remember all the details, but the stuff that you've seen plays again and again through your brain with the dreamlike qualities it had the first time you had the dream. And then you know that Gabe knows who did it. You can't quite remember who he's talking to, but you're sure that in your dream he was talking to the shooter before he came down to help out. Strange.j

    Gabe 28 February 2012
    Gabe, you're rocked by the stronger-than-usual agonized screaming and it takes you a minute before you can get your head clear enough to tune in at all. Even then, you're left with a case of the shakes. You see the beach. There are strange lumpy stones all over it. They're large and they crawl away from the water. You realize they're turtles. your vision draws away, like into the sky (have you ever seen a map, I'd guess so, right?) and you see that there are only turtles on one beach up north. Weird.

    Rhyme 8 Jan 2013
    Rhyme, there's a humming from sort of behind you and when you turn to look, down by Gabe and Fraze and Cassa, the two doors that the guards once guarded are glowing. The one on the right is red and the one on the left is blue.

    Gabe 9 January 2013
    Gabe, you hear the screaming like normal right? If you slipped into this state by mistake, I suppose it must freak you out a little; but at least you know what's going on. But the screaming -- it's weird. It's coming from those doors. Mostly the one on the left. Seems like only one voice is screaming on the right and lots of em on the left.

    Pandora < href="http://snailspace.forgreatjustice.net/comments.php?DiscussionID=741&page=2#Item_28">31 January 2013
    Pandora, Burlap is coming to help you. You can trust him.
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