Santiago has run off, taking the lantern with him, leaving Nan in the darkness of the third floor hall, just outside the Sunset Room.
The heavy, ragged breathing and shuffling footsteps have gone quiet. All that remains is silence, and the placeless echo of Nan's vision of the TERRA COTTA COURTYARD.
Feel around for the wall so you can reorientate yourself in case you need to run.
FLAIL, FIND A WALL, FOLLOW IT, RUN LIKE HELL.
Preferably with the flailing oh god there are monsters everywhere run run what are you waiting for oh god damnit run goat run
This is going to be asked in a second anyway, so check your pockets/inventory
Oh my goodness yes.
Find a wall, TAKE A MOMENT TO ORIENT YOURSELF. No point running away from where we want to go. Move quickly to the elevator door and SLAM THAT CALL BUTTON AS HARD AS YOU CAN JESUS.
Try to find a wall, then follow it.
Try not to make too much noise, lest you alert the Beast.
Nan stands up and begins feeling along the wall. She rechecks her inventory, to find:
PHILLIPS HEAD SCREWDRIVER
And a CHECK for services rendered at the Fun Family Arcade.
It appears her CROSS PENDANT is still missing.
Im thinking you should ready the screwdriver, since its the closest thing you have to a weapon.
Continue walking along the wall.
EQUIP SCREWDRIVER in case of hostiles.
Nan continues along the wall, and finds something that feels like a button.
Don't push button yet. Feel AROUND the button. Is there a rectangular plate around it, like an elevator button? Metal? Plastic?
Check to see what kind of button it is. THEN recieve scary. :D
Nan presses the button.
The elevator doors open.
Kim screams, then sighs in relief, lowering her taser.
It's just Nan, after all.
Hug them both in relief.
Fist bump Anderson
Tell them about Anne
Tell them what happened after you fell asleep.
Wait, we might want to make sure it's actually them before we go clinging on to them. You never know in this place.
Head in elevator
Tell everyone Anna got mauled
Hugs all around! Then ask what the hell happened. Where they went, if they know Anna's dead, so on.
You know what, take that rug on the floor. You'll never know when you'll need something with which to beat a fire out with, throw over a barbed wire fence, or to distract a monster with.
Nan steps into the elevator and delivers the grim news about Anna's fate. Evidently Anderson and Kim were not aware, and Kim gasps in tragic realization.
Anderson seems angry. He says this is why they slept in shifts. Who was Anna staying up with?
Oh, no. It was Pablo. Have you guys seen him?
God damn it Pablo...
Ask them what went on with them since you last saw them. Did they wake up together or did they have to find each other? And grab that rug. It's yours by blood right.
Pablo. Pablo had the shift with Anna.
After they woke up Anna and Pablo for their shift, they took a short nap, then headed out to look for Santiago.
Kim groans. That means Pablo could be dead too.
Anderson says that's definitely one possibility.
So the two of them left the safehouse together and this is the first they've heard that things have gone wrong? How long has it been, for them?
Also take the rug.
Ask what the hell is going on. How did we suddenly wind up somewhere else? Is this whole place in some kind of space-time fractal?
I love talking about space-time shenanigans as much as anyone else, but unless we're professional physicists in that area, we should focus on surviving the weird space-time hotel of horror then understanding it.
Close the fucking doors and let's get to another floor.
suddenly I'm a lot less sure about pabalo...
Nan asks if anyone understands what's going on, and how she suddenly wound up somewhere else.
Kim asks where exactly it was she wound up.
The lights come back on with a quiet hum.
What's is place look like?
WE'RE ASKING THE QUESTIONS HERE.
I don't think we should mention Santiago.
I still think we should take the rug.
Dangit Nan get off that rug. Take the ruuuug.
We had a weird nightmare. Pablo was in it. We woke up, then say the Pilgrim, then met Santiago. Now we're here. Ask what THEY did in the intervening time.
Hang on, why exactly did they go out to look for Santiago? Methinks it's time everyone had a bit of a sitdown to discuss exactly what's been going on since our little side trip.
Vaguely describe your dream. Both of them, why not.
Get the dickens back in the elevator and back to the saferoom already. Stop standing around yammering in places where the lights crap out randomly and the Things go.
Let's see if we can at least fine Anna's body again. I'm not actually sure if it's worse if we can or not.
I get the feeling that if we go looking for the dead, we won't like what we end up finding. Anyway, Anna didn't have anything important on her, so no reason to wander around without purpose.
Nan explains her dreams, which brought her to a strange place where she saw Pablo, then to the TERRA COTTA COURTYARD.
Kim's face seems to darken at the discussion of Pablo's behavior, but comforts Nan. It was just a dream, after all.
Anderson says nothing.
Nan explains her ordeal after waking up, how she was chased and led around. Kim asks what part of that constitutes a "space-time" oddity, if she just moved around.
Finally, Nan suggests they take the elevator back to the safe room. Anderson replies that the safe room is on the third floor. Where they already are.
He studies Nan quietly, then asks if she's sure she's all right.
We're alright, Anderson. Just more than a little unsettled. Ask where Henry is. Let's just get back to the safe room and take a deep breath, okay?
Don't let yourselves get lulled into a false sense of security just because the lights are on. Those things can go out at any time. Warn them about the Pilgrim.
Also, ask Anderson if in his time there was any trace of a former spanish monastery around the Hotel. Maybe it was only torn completely down right before construction on the hotel began.
Admit you have little knowledge of where you are or what's been going on. You've been asleep, after all. Did they FIND anything during their search for Santiago?
Be advised, I think Anderson doesn't trust us.
I think he thinks we're getting a tad hysterical. He's from around the early 20th century, he probably think all dames melt in the face of danger.
HNNNNNGH NANQUEST UPDATE YES...
Ask Anderson what happened to Henry and why they decided to leave poor Nan alone in the saferoom ;_;
yay nanquest, dont give up weaver =3
is there any indicative you really are on the 3rd floor? door number maybe?
well, we should head to saferoom anyway.
Apologize and say you weren't aware because you were too busy being blindly running away from the Pilgrim and other various monsters.
>Santiago has run off, taking the lantern with him, leaving Nan in the darkness of the third floor hall, just outside the Sunset Room.
...yeah, we didn't really move around due to the 'dreams' this time did we? Did you tell them about getting sent into the burning room?
Nan considers her situation. Perhaps she's a little confused. She was being chased by the Pilgrim, she must have just gotten turned around.
Anna was here, she's sure of it.
But now the hallway's empty.
Nan asks if there used to be a Spanish Mission here. Anderson says there was. When he was a boy, its ruins were here. Burnt to the ground some time ago. Cleared out years later, in preparation for the hotel.
We'd better not stand around here too long. Let's head back to the saferoom.
Ask why it got burnt down, on the way to the room.
nothin we dont already know, besides the burning down bit. Time to either head back to saferoom or check the floor for our friends.
Return to the safehouse.
Ask Kim if anything cool or notable has happened since 2009 for possible minor small talk.
Point out where Anna died. Lament that you didn't grab her hat for evidence.
Also: Survival requires understanding. Lets research the FUCK out of this place.
Become obsessively possessive about your possessions.
Write your name on all the tags.
The door to 311 is slightly aja-*shot*
When stating the area where Anna died note aloud the fact that there is no blood on the walls.
Nan asks why it was burnt down. Anderson says he doesn't know. It happened before he was born.
Nan returns to the SAFE ROOM.
If I had to guess, I'd say Pablo's been obsessing a bit.
What's with the lines on the wall? Those weren't there before, were they?
Move the bed, see what's behind it.
Okay, so now Pablo is a Prime Suspect.
We STILL need to find a way out of this dang hotel, though.
In the meanwhile, examine the wording.
Possible credence to Anna's idea?
Quick, check the tub! Hopefully Pablo isn't in there (maybe he saw what happened?)
Check for unwanted visitors.
Thank you, mysterious failure. Your words mean so much when people are dying and going missing.
Nan: Go to the mirror. See if your mirror self is there. If she is, then drag her out and beat her until answers come out.
Other than that, ask if anybody has ideas on what to do next.
If not, then go to the front door and try to open it but do NOT step through. We need to see what the others see when it's open. If you encounter yourself or one of the others, grab them and take them with you. If it's Anna, then kiss her and make her promise not to die on you again.
Just as an aside, ask Anderson when he was born. It might ne nice to just know how old we all are (of course, if you want to leave it ambiguous then by all means ignore the shit out this. I've already contributed to a Weaver-quest today, and in doing so, my life is a tiny bit more complete)
Ask when the note showed up. No hugging
Study the markings on the wall. Are those scratches clawmarks?
There doesn't appear to be any more to the note. The markings on the room haven't changed from the last time -- faint ashy trails leading up the walls.
Nan checks the bathroom, but it's empty. No one else is here.
LOOK BEHIND YOU
Check the mirror!
Failing any strange activity, Return to Kim and Anderson and ask what they have been doing and what is their next move.
Make sure bedroom door is closed and locked. I assume so, but it wasn't mentioned.
Okay, let's inventory our situation. We're missing Pablo, Anna's dead, Santiago's batshit crazy. Where's Henry again?
Henry's been missing ever since Nan woke up to Anna being mutilated by Pilgrim.
Should we go find him? It's not like there's anything better to do.
On one hand, I think that we can't afford to lose anyone else. On the other hand, our rescue missions haven't exactly gone swimmingly so far. But I'm not sure what else we can do at this point. And there's clearly a connection between Nan and Henry, since they've been sharing dreams and have similar (the same?) pendant.
Yeah, the more I think about it, the more I think we need to do a Pablo/Henry rescue mission. Mostly a Henry rescue mission, because based on the scrawled message and Nan's dream(?) of Pablo's whole "I'm sorry baby I won't kill you this time" episode, I've got a bad feeling about Pablo.
Check mirror, if nothing happens then organize a search party of some kind. Make sure that the search party consists of everyone too, the last thing we need is to split up and have more people to find later.
Oh crap... you're right. These rooms don't have phones, do they? We need to find a way to communicate with people in some manner.
... then again, didn't we first meet him on the 1st floor? Maybe when everyone got separated, he wandered back there. It'd at least be familiar.
check mirror, assuming we dont get warped to some parallel version of ourselves in the process; consult anderson on plan of action.
If we're going to stage a rescue, we're going to need a few things:
1) A plan. This not only includes where we're going to look for Henry (and maybe Pablo), but also what we will do if we're split up and proper procedure for sticking together when the lights die.
2) Weapons. Nan lost the Rebar sword already. Looks like Kim has a taser, Anderson has his gun, but Nan's defenseless currently. The broken glass from the mirror could possibly be cobbled into a makeshift spear if we take down the shower rod or break some wood off the bed, if we can find some tape or something to bind them together.
3) Contingency plan on what to do if Santiago shows up acting psycho. Frankly, I'm inclined to say that Santiago is going to be more of a liability than he's worth. I know Nan isn't the "kill in cold blood" type, but this burgeoning attempt at a friendship at him seems like a poor idea. He can't be trusted, and I sincerely doubt he can be redeemed. No more handing him our limbs without having a backup plan for self-defense.
I'd like us to readdress this point, too. Why were the two of them out looking for Santiago?
One more alternate option and then I'll stop spamming the thread: there's still the "4:66" mystery. My immediate instinct is that's a room number. I know the hotel only has three floors, but I think the number's there for a reason. Is there a way onto the roof?
>>300964 has a point. Try to remove the curtain-rod-thingie. It's probably hollow and light, but it's better than a screwdriver.
Them return to the room and move the bed to see where the ash trails stem from.
And don't look in the mirror, seriously. The last thing we need is another paranormal event that takes us on yet another flashback/dream.
Please try to leave comments only concerning our current situation. 4:66 theories go to the discussion thread.
It seems so far whenever we encounter a paranormal event, it is nan's insofar violent response to these events which trigger a flashback/dream/timetravel experience. So long as we dont do anything rash and Nan applies herself passively to such events, we should be fine.
Up the walls? Look at the ceiling.
To clarify, I wasn't just bringing up the whole "4:66" thing simply for theoretical purposes. I bring it up now, specifically, because we're currently at a "what general goal should we pursue" point. As an alternative to a rescue mission, we could attempt to find a 4th floor (hey, this place isn't exactly full of Euclidean geometry) or roof and try to figure out if that's where we're supposed to be going. So it wasn't meant to be a "let's bring up every haywire theory" mention of 4:66, but rather a "Hey, instead of a rescue mission, here's another idea" mention.
That said, I still think finding Henry is probably the better priority. My guess is we'll run into Pablo and be unhappy with what we find.
Check inside the toilet tank. Maybe someone hid something useful in there.
What's wrong with a screwdriver as a weapon? Hobos and crackheads and the like use them all the time.
Using the screwdriver would require getting uncomfortably close to things. It'd work as a backup, but I doubt we'd last long with it as our primary weapon of choice.
Where'd the totem go? Guess it disappeared when we did our sleep-traveling. Nan needs to start duct-taping her equipment to herself or something.
Take down the SHOWER CURTAIN and use it as a makeshift CLUB.
Seconding taking the SHOWER CURTAIN ROD. Even if it can't be used as a club, I'm sure it'll have some use.
If you can't remove it, ask Anderson to help.
One: take the curtain rod. You could use it as a weapon or combine it with a shard of mirror.
Two: take a shard of mirror. Be careful when holding it!
three: Take the rings on the curtain rod. Maybe you could wear them as bracelets.
four: Look behing you and wave at your reflection.
then we'd just be arming our evil mirror self with weapons
Tie some kind of cloth around one of your eyes. Then when it goes dark you can switch the cloth over to your other eye for INSTANT NIGHT-VISION.
Step 5: cannibalize all wooden furniture in the room then combine wood to form ARMOR OF ARMOIRE. This thing can stop a missle!
Seconding Termina's suggestion. I [his?] order.
Sorry to double post but I didn't mean to use red text like that. I'm kinda new to the posting thing, and didn't know it by default said suggestion at the top. Feel free to delete this if you wish but please don't ban me or anything.
I'm a girl.
And don't worry about the red text.
ask anderson for his watch, change the time to 6 minute past 5 (4:66), see if that does anything
He probably won't agree to that, and the whole 4:66 thing is probably just a "spooky Weaver effect".
Floor 4. Hall 6. Room 6.
Are we already on the top floor?
Nan looks at herself in the mirror.
Become overwhelmed with inexplicable urge to smash the rest of the mirror
There is someone behind you. GO FOR THE LEGS.
Okay, maybe get a drink from the faucet, calm your nerves?
Iiiiit's... probably just the broken mirror making things look all weird but uhhh, look behind you.
Return to the main room. Ask Kim and Anderson if they've found any leads on a way to escape yet.
Nan turns around, but no one is behind her.
TURN AROUND THERE IS SOMEONE BEHIND YOU AGAIN
Step away, turn around to face mirror.
Oh that was just the shattered mirror shards giving a weird reflection, everything is completely fine.
Let's get moving, and try looking in some other rooms maybe.
Turn back around, reach into the mirror, pull that damn mirror-clone out, and beat it until answers leak out.
Nan touches her head. There is a dull pain there.
MIRRORS DON'T WORK LIKE THAT!
Throw something at that mirror! Again!
Find the shards of the mirror and put them back in.
WAIT NO DON'T THROW ANYTHING AT IT.
GET OUTTA THERE!
Get away from the mirror.
It is not safe. The bathroom is not a safe place.
IT KEEPS HAPPENING
Reality is breaking down again. Get back to the others!
Nan decides to exit the SAFEHOUSE BATHROOM.
Nan re-enters the THIRD FLOOR SAFEHOUSE.
Check if the dull pain is still there when the mirror is out of sight.
Tell Kim and Anderson to avoid the bathroom, seeing as the mirror is a portal to Hell and can warp your very being.
Well, so much for the SAFE HOUSE.
In any case there's nobody here. And since the building appears to be well-lit again, you should go look elsewhere.
Announce to the group to never fuck with mirrors ever again.
Well... where can we go now? We could check out the rooms on the first floor that people used to be in. Or we could ask if either of them have any keys to any other rooms.
Nan warns the others to be careful around the mirrors. She still feels a dull pain in her forehead.
Anderson asks if they all plan on just sitting here until they die. Kim says they have enough food and water here to last them for a while, and the room seems safe so far, so it might be best to just wait for rescue.
Given that Anderson has been waiting her since the turn of the century I somehow doubt that's a plan likely to pay off.
That obviously isn't happening.
What we need to do is try to get to the roof. Perhaps from there we can find a way down, or maybe encounter more impossible reality-bending shit.
Tell Kim the room is not safe and that looking for a better safe room would be prudent.
Good thinking. Ask them about keys to get options. it might also be wise to check the front entrance once more, since weird items tend to pop up there. Could be useful.
Suggest that because of the supernatural nature of this hotel, rescue may be impossible. You ultimately will need to find a way to quell the evil that is holding you captive in order to escape.
I think rescue is ever going to COME.
I mean how do we know anyone else can even get IN? What if the Hotel is as good at keeping things out as it is at keeping them in?
And who's to say that if someone came, THEY wouldn't be trapped too?
No. We have to find a way out.
We WILL find a way out.
But first we have to figure out what in the fuck is going ON.
Rescue ain't comin' if nobody notices you're gone missing in a hotel that defies all laws of time and space.
Point out that rescue is something like 120 years late by the time Kim arrived, and even if anybody had a clue that anybody was trapped in this building they sure as heck wouldn't be equipped to get you out of here.
Suggest that everybody march down to the front desk and demand to see the manager.
Also, next time you see Pilgrim ask him what happened to him, and to this place.
Ask Anderson if he has an idea. Anything at all, we don't really have any direction beyond basically exploring the hotel. We could look for the others I suppose but then what?
Nan says rescue is not coming. Nothing here seems certain, but that's about as sure as she can be about anything.
Nan asks if anyone has keys. Most of the rooms appear locked or barred.
Kim says she has a key to something called the Anasazi Lounge. She found it in her room, when she first got here. Nan can have it -- Kim doesn't even know where the Lounge is.
It's exploring time! Grab some potentially useful objects and run off for adventure!
Welp, off to find the Anasazi Lounge I guess.
Should we drag the others along for this?
I think it would be best to have Anderson and Kim find a safe place.
Nan can take care of herself.
So yes, let's go find the Anasazi Lounge!
Check the assorted bottles.
Oh yay adventure.
Rip mirror-Nan out of the mirror and beat her until she starts bleeding answers.
I think we need to stop splitting up. It seems to lead to "bad things".
Also, wasn't there a lounge or some kind of dining room where we fought and the room was on fire before we met ourselves?
Make sure Mirror Nan isn't following you, then get the gang together and head to the Lounge, we might find another key or a survivor there.
Nan takes the ANASAZI LOUNGE KEY from Kim.
Kim says Nan can go, but she's staying here where she's been safe for the past several days. Besides, she still has no idea where the lounge is.
Anderson says he doesn't want to leave either of them alone, but clearly he'll have to choose who to stay with.
He should stick with Kim, since they need to make sure the safe room stays safe.
Also, go grab mirror-Nan and beat answers out of her. This is the most rational course of action.
Tell Kim that this place was only safe because it had people here. If a monster barges in here she'd be cornered.
If Kim's not going to budge, have Anderson stay here. Then it'll qualify for being slightly safe. But advise that no place is really safe, probably better to be on the move with just three people.
Leave Anderson with Kim, they both have weapons to defend themselves in case the Safe Room turns out to be...well, not so safe.
Also, check the mirror. We need to make sure our mirror self doesn't come out and kill them after we leave them.
Anderson, stay with Kim.
Nan, grab a light source and advance.
Make out with mirror Nan.
Leave the mirror be. It being cracked isn't safe for us. If we find a whole one, maybe we can mess with it.
Tell him he can stay here.
I still think we should advice them to find a new safe room. Maybe one which has a less dangerous bathroom mirror.
And then we end up all alone again. Yay!
Obtain new weapon.
Appeal to Kim's knowledge of horror movies.
Don't split up the team.
( CARLSON AND PETERS! )
Nan decides to head out on her own, as Kim seems set on staying here. Anderson offers her a LEAD PIPE as a weapon.
Scrounging through the drawers, she recovers a FLASHLIGHT.
Alright, that'll do nicely. Thank him, and let's move.
Take the pipe and flashlight.
Turn on the flashlight and head on out.
Then let's set off!
I guess the most logical place for a lounge to be is the first floor.
>>Éí 'Aaníígóó 'Áhoot'é
If no help is coming, they should all head out and try to find an exit together. Watch each others' backs, and above all leave no one behind. No one should be alone in this place.
Nan takes the items and steps out into the THIRD FLOOR HALLWAY.
Let's run this shit into the ground (floor).
might as well head to the ground floor reception desk, see if any new loot popped up or any notes from the 'management'
What's with that cross on the door?
Have we visited the second floor yet? Or the third? Well, whichever one we aren't on currently, and isn't the ground floor, we should go check out. Also perhaps... check if there's a basement button on the elevator.
Remember what Santy said? The hotel goes dark when they start to get angry. When you go against the hotel's wishes. It will do what it can to stop you.
... I guess we keep going until the lights go off.
And then, whatever we were doing then... we keep doing it.
Also, can you craft the screwdriver and lead pipe together to form the IMPROVISED WARHAMMER?
Nan heads for the Elevator.
Perhaps the ANASAZI LOUNGE is on the second floor.
Head to the elevator. Also, if she does go to the elevator, she should use her REPAIR SKILLS to know that most elevator door's close door buttons are actually placebos, and test it to see if it does anything. If it is indeed a placebo button,look for the stairs(if there are any/are assessable). It is too dangerous to take the elevator if she can't close it quickly in an emergency.
I disagree with the second floor, I say we check out the ground floor first.
Also, do we have any idea where stairs are? I'm not sure about trusting the elevator.
The lights at the end of the hall have gone out.
NAN. TURN AROUND. FLASHLIGHT OUT. WE HAVE PADRE SIGN.
Down the stairs.
Check to make sure this Padre is legit, THEN haul ass downstairs if he is.
Actually, yes, this is better. Run downstairs ASAP.
Oh, hi Padre. Stand there for a moment. Ask him what he wants. If he moves to attack then RUN down the stairs. Fuck the elevator, it'll take too long if we're being chased.
Check room 312
The probably-locked room that is closer to the darkness-shrouded figure? That... seems like a bad idea.
If the stairs aren't right there, scramble into the elevator hit the second floor button then the close door button. Then pray it not a placebo button.
Point the flashlight at the darkness. Look at the Padre and see what he is doing. Is he doing anything, Nan? If he makes a move for you, run for the stairs.
If it starts making a move, call out to Anderson and Kim to black the door as you run.
How the hell did I mess up that much? a is nowhere near o.
Nan shines her FLASHLIGHT.
The result is not entirely as expected.
Go touch it. ouo
No, do not touch the darkness creeping from its very being and RUN DOWN THE STAIRS NOW GO GO GO GO GO GOGOGOGO.
oh my gooooood, RUN.
Ohhshit nvm. oAo For a sec I thought someone propped a dummy up in the hall, but yeah HAUL ASS FROM THE TOO REAL PADRE.
We are not properly armed to fight padre, but if he just stands there then say hi. If not, RUN! RUN LIKE THE WIND!
Search the cabinet under the bathroom sink, the drawers in the main room, and underneath the bed. You never know where useful items might be hidden--there could even be all-powerful DUCT TAPE for combining items with the SHOWER CURTAIN ROD to increase their effective length.
If he's not moving then say hello.
Otherwise run like hell.
Read the Lead Pipe
I mean run. Run down the stairs do it now.
Say hello. AS LONG AS HE STAYS IN THE DARKNESS. Also, turn your flashlight off, you don't want to irritate him.
Turn it off.
Also repeating that we should call to Kim and Anderson to barricade the door, while we run..
Try to speak to him. If he advances towards us or seems as though he is going to hurt us, walk away slowly.
Nan hesitates, and attempts to greet the Padre.
FOR FUCK'S SAKE RUN YOU LITTLE GOAT AAAAAAAUGH
NOW can we RUN LIKE HELL?
Menacingly strike wall with lead pipe in the same fashion that it did
Okay yeah fuck this.
To the elevator!
Run away shouting whatever catholic prayers you can remember. That should get us a dramatic scene where somebody (Maybe Anna's animate corpse?) is like 'He can't help you here' or something.
Nan's modes of exit are quickly narrowed.
Something appears to be blocking the stairs.
Dual wield your pipe and screwdriver.
Time to throw down with the Padre.
We have no choice- run to the elevator.
Time to throw down indeed. Two hands on the bar if you want even a chance at parrying his attacks. Remember, hitting him is not as important as DON'T GET HIT.
Time to resort to the old standby...
Freak out at the gravity of the situation.
Then get to the elevator
The elevator is your only choice. Run.
Darkness covers the hall as the lights go out one by one.
Nan glances to the elevator, considering her options.
One light is left on.
Better get to that light.
Go towards the light, Nan! Go towards the light!!
You. Light. Now.
I think it's time to say hi to our buddy Santiago again! Go to that light. Lights are pretty cool.
Don't panic. The hotel responds to fear and panic. Treat Padre like a predator, keep your eyes on him and back slowly towards the light. Don't run.
B T dubs, wikip says that "the word Anasází is Navajo for "Ancient Ones" or "Ancient Enemy"."
Thought that might be worth considering.
To the light! Go!
To the elevator. The hotel is trying to guide us to the light, so lets not listen.
I agree, don't panic. Running will only incite him to run. WALK backwards into the light.
Last time we did something the hotel didn't like (breaking the mirror/clock) everything just got fucked up
It's probably best to head for the light now, ask questions later
I'm pretty sure the light is coming from the elevator. Go to it, but calmly (though still quickly) and keep your eyes on Padre. Santiago may be on to something about not being afraid. Treat your enemy with respect but do not give him your fear.
I like the idea of repeating a Catholic prayer, as well, if you know one. Most people at least have "Our Father Who Art in Heaven" ingrained if nothing else. I'd suggest you do it in Spanish or the original Latin, but I'm guessing you don't know it.
SECOND FLOOR SECOND FLOOR SECODN FLOOR SCEONF DLOOR!
stand tall and stand firm. demand to know how to get out of here.
Nan backs away slowly.
The Padre begins to run.
Go on then and run.
FFFFFFFFFFFF go faster.
Rush to the elevator and hit the ground floor button, then ready your pipe. If he gets there in time to stop the elevator from leaving then your goal is going to be getting that poker away from him as otherwise your chances against him are dicey at best.
Sprint into the light!
On second thought, sprint to the elevator.
Welp, balls up boys
Hug the Padre! Appeal to his inner humanity! This is obviously the correct option, and will result in love and puppies for all.
Nan flees to the elevator.
Damn these elevator doors! CLOSE!
Nan slams the button for the GROUND FLOOR.
Wave hello at the Centre of Time and Space.
Wonderful. First the Padre, now we're trapped in a moving elevator with THIS FUCKER.
Try to communicate carefully, I suppose. By waving, yes.
Oh hai there anomaly/demon/cool something. Amigo o enemigo?
Poke the Spacial Anomaly with your Lead Pipe.
This hole, it was made for you. Dare you enter? Or will you continue to fear the unknown?
On the wall of the elevator is a figure vaguely resembling a person.
It is marked directly on the surface, and its texture is worn, aged, unevenly speckled.
Whether it's been painted or otherwise imprinted is not clear.
Touch it with your lead pipe.
Is the elevator moving?
If so, refrain from touching this thing.
Poke the hell out of it with your pipe.
Yes, test it with the lead pipe. If the lead pipe goes through... I advise you enter. The Lounge may have come to us.
Poke it with your pipe.
The elevator begins to move, descending slowly.
Nan pokes the strange mark with her LEAD PIPE, but it's just like poking the wall.
The elevator stalls for a second, then continues downward.
Ask it a name.
It would appear this... is the elevator -- or perhaps its attendant.
... let's leave it alone for now. smashing it would probably result in EMERGENCY STOP
How odd. The hotel corridors are probably completely dark by now. No sense in leaving the elevator like that.
So I guess we can kill time with this thing...
And also find out if it's going to kill us.
Does the shape resemble anyone Nan knows?
Say 'hi' to ANNA
Or what's left of her.
Touch it with your hand.
Dont touch it at all.
If it's not bothering you, then don't touch it. If it STARTS getting violent or something, well, that's what the pipe is for.
Whistle some showtunes awkwardly.
Best not to mess with it, just wait until we reach our destination and get ready in case the imprint decides to attack.
"... Anna? Is that you?"
Nan says hello, but there is no response of any kind.
She says Anna's name, but still, there is no response.
The elevator passes the SECOND FLOOR without incident, and chimes once.
So, all for leaving creepy wall painting alone and going to greet the bright and cheery world oh Hotel Hell?
Hit the ground floor button again.
Don't turn your back on it. Keep looking at it. The moment you give it a chance, it's going to grow arms and reach for you.
Use SCREWDRIVER to attempt to scrape off a sample of the... thing.
Failing that, examine it closely with the MAGNIFYING GLASS.
Don't fuck with it until we're at the ground floor, at least. Looking at it with the magnifying glass would be cool tho!
Nan waits until the elevator reaches the ground floor. It chimes once.
The doors open.
The lights appear to be on out in the hall.
The marking is dark, its texture aged and mottled.
On closer inspection, it almost seems to be a mottled burn mark.
Don't go in the hole. That hole could be made for you or another resident and we all know what happens at the end of The Enigma of Amigara Fault.
there aren't many things in this place that are GOOD for us, so i really think we should just leave this thing alone, cataloging it in the 'things we don't know enough about' file.
CAREFULLY leave the elevator, maybe just take a look around first before just stepping out into god knows what
Try to break off a hunk of it and put it in your pocket.
Touching anything in this place with malicious intent is gonna fuck something up most likely
We could TRY to put a finger to the marking thingy though...
Nah, you're just being paranoid.
Peel off some of the wall and add it to the inventory.
>Nan: Hump the burn mark. What could happen? You've been sexually repressed for possibly days.
TOUCH IT, you know you want to
Remember the last time we ran into silhouettes?
Yeah, they came off the wall and tried to eat us.
So no leave it alone.
Nan reaches forward and tries to chip off a piece of the dark mark on the wall.
Something doesn't feel quite right.
Again, exeunt elevator.
Okay Nan you've fiddled with the mark, now leave it alone before something worse happens
We're at the top of the elevator shaft?
Ask Anna what she's doing.
Anna! You're not dead! ... unless this is one of those weird, post-mortum soul things. Are you dead? Are you going to warn us about something?! It's going to be really vague, isn't it?
Something is happening. Don't interfere. Watch.
Shout out to her.
Below is a dirty, old elevator shaft. The elevator car sits at the bottom. But given the proportions, it doesn't feel like the same elevator.
Nan walks over and asks Anna what she's doing, but Anna is too busy with her work to respond.
A voice comes from below, distant and echoing. The source cannot be seen. The voice asks Anna if she's done yet.
Anna replies that she is almost done. She calls the voice "Mr. Bowerman".
...She's doing something to the elevator. STOP HER.
Anna drops her SCREWDRIVER, and it tumbles down the elevator shaft below. She curses quietly, reaching out for it in vain. After a moment she sighs, rummaging through her toolbox.
Unable to find whatever she was looking for, Anna mutters that should be fine anyway.
Give Anna your screwdriver.
Let's see where this goes.
Offer her your screwdriver.
Put your screwdriver where she can see it.
While you do this, try to warn her.
I have a feeling we're about to find out why Anna was brought to the hotel.
Give her your screwdriver, of course. Not much else to do.
I agree with this guy here. Obviously she can't directly see us so offering her ours won't do much, but maybe if we put the screwdriver down in front of her she'll notice it on her own
Grab her arm firmly.
Put the screwdriver in her hand.
Make sure she doesn't drop it while finishing her work.
Hug her when she is finished.
Nan offers Anna the SCREWDRIVER. But as it does not seem to catch her attention, she places it in Anna's TOOLBOX.
Anna rummages past it, then picks it up, commenting that it appears she did have a spare, after all.
She goes back to work.
Whisper "I miss you" in her ear.
Cause, you know, I kinda do.
As [most] everyone else said, put the screwdriver down right in front of her.
Anna finishes her work a minute later, muttering that's as tight as it's going to get.
She packs up her tools and goes to the ladder, descending carefully.
She calls out that she's coming back down now.
Affecting her environment seems to work. Nan's like a ghost right now, apparently.
Okay, is there some way you can scratch or smudge a message onto something in her line of sight?
Also take a closer look at that pipe there.
Dammit! Weaver ninja'd me!
Descend ladder after Anna.
Try to follow her, unless we're constricted to this little area
Pick your screwdriver back up before going after her. Cause you might need it.
Nan follows after Anna, heading towards the ladder.
Nan is suddenly
Nan is back in the HOTEL ELEVATOR.
Alrighty, exit elevator.
Well, fuck. Looks like we'll have to see the rest later.
Okay, peek out the elevator, then carefully step out.
See if you still have your screwdriver. Also shed a single tear while thinking fond thoughts of Anna, being glad you could do her one last favor and hoping she's in a better place now.
What Z said.
OK! Our mission is now COLLECTING STUFF so we can do that to everybody that dies.
Go check the cubbyholes for more things to steal vital tools and clues.
Make a note to ask people what horrible event has them feeling terrible.
Are we getting all Cryostatis up in here?
I think checking the cubbyholes and then seeing if we can get into room 114 is a good plan.
Exit elevator. Hopefully we can find someone to interact with that won't try to kill us. I for one am wondering what Santiago is up to right now.
...I wonder how many of the 'residents' here fixed something in the hotel? I wonder how many used a screwdriver? It may be that Nan is carrying something very important.
In b4 we save a cow's life to get through a frozen refrigerator
Do a hearty jig for having helped out Anna.
INFORMATION ACQUIRED: How to fix elevator.
Now let's look for that Lounge.
Which reminds me. We were called to fix the wiring. I still think we should do that. What was wrong the last time, was the door busted or something?
Anyway, since we're on the ground floor, the wiring should be nearby. But first to the cubbyholes.
Nan exits the elevator and steps onto the MAIN LANDING at the ground floor.
The lights are still on, for now.
Check out the janitor's closet, maybe we can get a similar thing to happen with Pablo like it did with Anna and the elevator.
open janitor's closet.
Somebody forced the Janitor's door open and damaged the frame in the process. You're going to want to check that out, but for now check the cubbyholes and the front door.
Try to open the janitor's closet door without standing directly in front of it.
Take a closer look at that painting before we check the Lobby. It's making me uncomfortable.
Bash in the janitor's door with your pipe.
ALL DOORS MUST PERISH.
Considering the door appears to have been broken open already,and despite the fact that I LOVE smashing things ,no good has come braking anything so far. So let's just open the door.
Also, I am almost positive that the Padre pryed the door open. The most effective way to do so would be with his fire poker. Now look at the mark on the wall. It is likely from curved part at the pointed end. If you don't follow yet, just bare with me and visuals him (it?) forcing the pointy end in between the door and frame with curved part closer to the frame. Now he prys the door open by pushing the curved end tword the wall. This would scrape at the wall with the curved part.
poke your pipe through the hole if you can. looks like something's peeking.
Examine the painting/picture on the wall, then unless its interesting, open the door to the closet.
Someone else has been in the janitors closet. Note the door-frame is broken around the lock.
Inspect the door to the Janitor's Closet and the picture.
Also FUCK YEAH NanQuest!
Careful if you ARE planning on storming the closet. We might end up finding a less than sane Pablo hiding in there, or worse, end up pissing off the hotel again.
Open CLOSET and disregard high chance of MONSTERS.
Nan examines the SEASIDE PAINTING.
It depicts some sort of very primitive looking building made of stone, or perhaps clay, standing on a cliff by the seaside. A strange tower, perhaps some kind of lighthouse, stands beside it with a great bonfire burning atop it.
The majority of the painting is dominated by a very bleak and very gray sea.
... I wonder if there's a roof access somewhere in the hotel?
Nan opens the janitor's closet door.
It appears to be more than just a closet.
It opens to a steep, narrow stairway. Somewhere at the other end of the darkness below is a faint, shimmering light.
Determine if darkness is normal
we'll come back to that. let's keep going where we were going before.
Check the cubbyholes first.
Get down there.
Down ye go.
Nan descends into the dim stairwell.
Nan has entered the JANITOR'S CLOSET.
Shine your flashlight at the ceiling, that's where the wire leads.
I'm in favor of checking out the cubbyholes before doing anything else - doubly so since this has the whole "YOU ARE DOING THE THING WE COMPLAIN ABOUT PEOPLE IN HORROR MOVIES DOING" thing going on - but since I seem to be in the minority:
Is there anything you could take?
Can you safely open the furnace to look inside?
Is all of that ash? Maybe cover your mouth with a hand or your overalls if you can stretch them up to avoid breathing it. Get your flashlight out and go inspect the furnace or whatever that is that is giving off light.
No. 2 rule in horror films: ALWAYS LOOK UP
Check out that stuff on the ground a bit more than halfway to the furnace.
Return to the ground floor and examine the cubbyholes.
Nan squints against the hazy darkness and shines her flashlight up into the thick smoke that lingers overhead. The weak beam of light barely fights back the choking black fog, but it's enough to see past the soot-caked water tanks and into the mess of criss-crossed pipes up above. Nan's eyes follow the electrical wire from the chandelier outside. It strings across the wall, high up, and comes down on the opposite wall, entering an electrical box near the furnace.
Check the furnace.
Inspect those cans on the ground in front of the second water tank.
Look inside the furnace.
Still do this.
No way. Check the electrical box. Light is god here, we need to see if there's something we can do to prevent the hotel from screwing with the electricity.
Investigate objects infront of the tank closest to the furnace.
After, look in the furnace. See if there's a way to open it.
I have a bad feeling about going near the FURNACE.
You know, cuz the hotel controls the things in here...
So check ELECTRICAL BOX.
Is there something behind that second tank? It looks like there might be movement there.
Oh god, you're right. Shine the flashlight behind the second tank, it looks like there's a growing shadow there.
Use FLASHLIGHT on SUSPICIOUS SHADOW.:V
Open the electrical box, chacking behind you ever so often, and practice caution when opening the box or anything that's closed
Nan inspects the laid out supplies.
Several tins of CANNED FOOD and some BOTTLED WATER are here. Looks like someone's stash.
Also present are a few CIGARETTES.
Quick! There's a shadow behind the tank!
Use your flashlight on it!
Pop a clean cigarette in your mouth.
You don't have to smoke it, just put it there to look more badass.
"Hello? Anyone there? Mind if I borrow some of your canned goods?"
Don't take the stash! Someone might need that to survive. Chivalry, yo.
I mean, unless you're hard up for sustenance. You're not, are you, Nan?
if Metal Gear Solid 3 has tought us anything, it's that cigarettes make small but moderately effective lights. take everything, light up, recieve light, deal with shadow.
Nan shines her flashlight behind the tanks, and a familiar voice calls out in return as Henry steps into the light.
"Oh thank god, it IS you!" he says with a sigh of relief.
Henry wipes his brow, covered in sweat. He has a few minor injuries.
He says he can't believe Nan's still all right. He says was worried it was that skeleton-faced thing coming back.
punch him in the dick for being one
Coming... back? Pilgrim lives here?!
Quick find where the wires go! We have to fix it and get the hell out of here!
Ask him how he ended up here. Suggest that an unlocked basement is probably not the safest place to hide. Take cigarettes and food supplies.
What'd Henry do the first time it came around?
1. Ask about pilgrim
2. Arm Henry
3. Activate repair powers
Do not hug Henry. Shit is too weird to trust anyone, especially people hiding in the shadows of the spooky basement.
Nan decides to hold off on Henry, even if she is relieved to see him. Now is not the time or place.
Nan recovers some food and water from the supply stash, and also takes some unopened packs of CIGARETTES.
Henry explains what's been going on:
He says when he woke up in the room, Pablo and Anna were already gone. He heard screams out in the hall, so he tried to wake Nan, but she was having some kind of nightmare. She tossed and turned, muttering something, and he couldn't wake her up, so he ran out to see for himself. Out in the hall, he found Anna, freshly killed, and tried to approach, when the skeleton-faced creature attacked him. He ran down the stairs to escape and came here, where the others had said there was food and water, to try and take hide here and wait out the danger. It was locked, so he smashed the door open with his CHAIR LEG CLUB and took shelter.
He hid when he heard someone coming in, thinking it might be that skull-faced thing, and now here we are.
Ask Henry what the heck he's doing down here, then ask how long ago the Pilgrim left.
Shit, nvm. Late. xux
How long ago was that?
Are there any secret places/rooms around here?
Oh good, so this isn't Pilgrim's home. Ask him how he managed to get to this floor via the stairs- they're blocked off. And there's a painting of a lighthouse where they used to be.
Also seriously let's find where the wires lead.
Inform Henry of your situation and the recent horrifying encounter with The Padre.
Nan asks how long ago this was. Henry says he's not sure, less than an hour probably?
Nan asks how Henry took the stairs, if there are no stairs on the first floor. Henry says of course there are.
Henry says he has no idea if there are any hidden passages or secrets around here.
Any way we can get this furnace going again?
we should repair some things, light up a smoke for +12 to all badassness rolls, eat/drink for +6 to sustenance, and then consult consult Henry for his wise guidance
Let's go back up and check the front desk, this place is creepy, dark, and likely unhygienic.
Take a look at the electrical box.
Shine your flashlight to trace the wire again.
Did we tell Henry about our encounter?
If so, then lets light a cig, grab a bite, and get to fixing the electricity
Lets get out hands deep in some electric wiring.
Seconded, but be quick about it. Hanging around so much smoke in such a small room can't be a good idea.
Are we going to check inside the furnace? Or are people against that?
Inform Henry that time and space do not work normally here, then tell him everything that's happened since you last saw him.
Ask HENRY about the ANASAZI LOUNGE.
Ask if HENRY has seen any OTHER PEOPLE since he left the SAFE ROOM.
Ask Henry to hold flashlight as you work on electrical box.
Mention to Henry that there is some TIME FUCKERY going on. It seems to act strangely when we separate. Because we've been gone WAY longer than an hour.
Anyway, check out the electrical box, and the furnace. Maybe there's a way we can keep the lights going or... something? We might as well look.
Ask Henry to watch your behind while you check out the electrical box.
Confer with Henry about CROSS NECKLACE
Use your woman powers and start cleaning that room. Jesus Christ, what kind of janitor calls a place that dirty his own? He ought to be ashamed of himself.
Maybe Nan and Henry should get the hell out of there. This place seems like it's just begging for bad shit to go down.
This might just be a graphical quirk on Weaver's end, but shine the flashlight on the rest of the ceiling. The black smoke hasn't shifted back since we turned off the flashlight.
It's never "just" a graphic's quirk.
I agree. Shine what light you can on that shit.
Nan should check for any potential entrances/exits aside from the doorway she came in through. Is that a vent on the right side, next to the furnace?
If there aren't any other ways out, we should be quick here (or at least keep an eye out for more hiding places). Last thing we need is to be cornered in a creepy basement.
Okay, it's time to search the place for hidden buttons. Take ten minutes to do this.
Have Henry hold the flashlight while we check out the electric stuff. Suggest that he scan the ceiling (if we don't need him keeping the light on the electrical box).
Ask Henry where the stairs he used are. It may also be a good idea to ask more about Henry himself. We know he's a businessman, but what did he do before coming here? Where was his designation before all this happen? Look in more about him. In fact, ask the others the same questions as well. I bet knowing the answers to these questions and knowing more about your allies can help us figure out more about this place.
I dun' goofed. I meant "destination".
Well then, let's keep an eye out for secret passages.
Ask him if he's seen Pablo or knows where the lounge is.
(is it that one we first met padre in that was on fire? Padre was on fire as well, and we ran into the elevator to escape him and met Anna. Does this explain the burn mark?:/
And OHGOD. Anna's MY name D:)
... Why DID we try to reason with him?? He was obviously PISSED AS HELL that we set him on fire.
If this is a religious thing, couldn't we use the events in a bible as a cheat sheet? There was a Spanish mission here, afterall, and so far the story reminds me of that one 'BURNING bush,(bonfire, oil lamps, the mission was burned down, Padre, beast in the courtyard...) the FATHER and son sacrifice a GOAT that god himself provides' story. I don't remember how it went though; just be wary of fire I guess.:/
Also, have Henry keep a lookout as you scour the room and examine the furnace.
Smoke that has not moved at all seems a bit strange, shine the light up to check it. Also ask Henry if he knows about the lounge, and if he still has his weapon.
Agreed. Check on the strangely immobile smoke. And be prepared to flee.
Might also be good to check out the fusebox and see if you can do anything to help with the lights. If they can be fixed and you have what is needed than do it, but if you don't than just note that it could be fixed and go to it later. Anything to help stop the hotel from screwing us when we least need it.
Does he know what's happened to anyone else, and if there's any way to rendevous with them?
Better idea- start telling Henry stuff about the future and things he should do once they get out of there.
Also ask if he has any idea who this Father figure Santiago mentioned is.
Shine that light over the whole ceiling. Something freaky's happening with that smoke.
Examine everything! That always works!
Also GTFO and drag Henry with you.
I assume this delay means that a long cutscene is coming up. Personally, I love those, so whatever.
Also, I don't think there's anything up with the smoke; it'd be a pain to redraw it every panel so it looks like the smoke is moving, and Weaver didn't want to waste time on that.
On the other hand, there may be something up with the smoke now, since everyone's been OMG WHAT'S WITH THE SMOKE. It's a cheap source of ideas, and the audience gets to feel clever...
It looks more like soot covering the walls than smoke, as if the furnace had flared up sometime in the past. Do look at the electric box though. If there's anything you know, it's that faulty wiring makes faulty lighting. With luck, faulty magic wiring makes faulty magic lighting, and can accordingly fixing the wiring will fix the lighting, spooky action or not.
Anna is dead. Kill yourself. It's over.
What would happen if weaver died? we'd never know... we'd just sit here waiting for them to update... forever. Commenting away year after year... sitting at our computers in desperate hope that weaver would return, never knowing what became of them because of the anonymousness of the internet.
Check the ceiling with the light =D wanna see if that causes more smoke to dissapear
(Not actually suggesting that weaver is dead but it's a creepy thought. Also Anonymousness is a word? I thought I just had bad grammar)
AINT NEVA GONNA UPDATE. Anonymousness is a word according to my spellchecker, it is just silly.
dude relax he's probably busy with other things/drawing ponies so just be patient and he'll get back to it whenever.
and this belongs in discussion if anything.
Weaver is taking a break for a while. After a bit, he'll start updating again. He has said as much.
Weaver likes ponies?
Have a romantic dinner by the light of the furnace.
Also, you make me sick, Weaver. Sick with
Weaver, Weaver fever, OOOOOH~,
Weaver, Weaver fever, NOOOOO~,
Weaver, Weaver fever, OOOOH~,
We thought you'd update on time, time~
(DEAR GOD I'll stop now.)
But seriously, are either of them hungry? Have a snack, if Padre doesn't bust in or anything. They have to be finding you somehow...
It just hit me ,assuming Kim's 'we're already dead thing', maybe what we witnessed in >>302702 was Anna just before she 'first' died.
Oh and get out of the with any supplies you can carry. Fashioning as makeshift bag would be nice too.
Yes, I agree. Ask Henry to be a gentleman and let us borrow his shirt to use as a knapsack.
Also, on the note that Weaver likes ponies, is Weaver a girl? All of the heroines (Ruby, Nan) are female afterall.
Keep it to the discussion thread you dolts.
Touch the burn marks like you did in the elevator
Shoop-da-woop the ceiling with your flashlight. You are making many discoveries. But watch out - the hotel may get ANGRY!!!
Lick the walls.
Is this dead?
Inspect the area with your flashflight (this includes all ceiling areas). What seems to be of interest around here? Check around for any secret passages.
Now, scour the area for any objects that may be of use later in our quest. Any BLUDGEONY CANESHOVELs around here?
Finally, ask Henry for any interesting finds in this place. Ask him if he has anything of use.
In other words, check Henry's inventory.
By taking his clothes off.
You know we could just carry on, on our own. Make an alternate path or what not. Then, when weaver gets back, chalk it all up to hallucinogens.
just realized she described tgchan
It seems very likely that this hotel is somehow sentient and out to get you. Therefore, get back at it by SMASHING AND BURNING EVERYTHING.
Shining the flashlight on the ceiling seems to be the only way to change anything or get information. Try that!
Ooh, I have another great idea. Later down the road if we see a mirror we should shine the flashlight on it and see if the light reflects or if the other side of the mirror gets the light.
Check furnace then go to lobby and check hat-rack.
There's already a chunk of the hotel busy being on fire. It doesn't seem too deterred by the whole thing.
>Somewhere at the other end of the darkness below is a faint, shimmering light.
My head grew heavy and my sight grew dim
I had to stop for the night...
>Exit the room with Henry. There's nothing more to see here.
>Nan Quest is on the front page
>Just some fuckers messing around
lol i trold
OH god someone's trapped in the furnace!
HOLY FUCK, YESSSSS!
Holy fuck, investigate!
Investigate the voice.
Welp, let's check it out. cautiously.
recognize the voice at all?
I wish to see a quest based on this.
Try to look for the source of the voice. Preferably from a safe distance.
go ahead. help the source of the voice which just so happens to come from a dark and markedly evil hole in the hotel full of horrorterrors from beyond. I'm sure nothing will go wrong.
Is it in that boiler thingy? Have Henry look first!
>"Help. Help me!"
Nan investigates the voice coming from the smoldering furnace.
>"Help me! Nan, get me out! I'm still alive! For the love of god, get me out!"
Kim is in the furnace.
Well, pull her out. Is it locked or something?
OH GOD, GET HER OUT
ENLIST HELP FROM THE FELLOW WITH YOU
MAYBE YOU CAN PULL OFF THE CRATE IF YOU WORK TOGETHER AND SHE PUSHES
oh, it's just her. that's kinda disappointing.
welp. help her, I guess.
I MEANT GRATE
Any way to wedge the bars open?
I'm pretty sure those grates are removable, but you might need a screwdriver.
Kim is badly burned.
Nan quickly kneels down, trying to pull off the rusty grate covering the immense furnace.
Nan turns to look at Henry. Henry stands frozen.
He swears he didn't put her in there.
Put your back and legs into it, Nan. It can't be that stuck!
Or... look for a latch or something.
Tell him it doesn't FUCKING matter how she got in there. All that matters now is GETTING HER OUT.
Ask her how in the hell did she even GET down there? She were three floors upstairs just moments ago with Anderson, refusing to leave the safety of the safe room!
That is, if she can speak.
Then call Henry dumb because you know he didn't put her down there. He couldn't have possibly done that. Stop being redundant Henry.
Ask Kim how long she's been in there and tell Henry to stop freaking out long enough to help you get her out.
This is a boiler room, is there something down here or in your pants you can use as a lever? Yell at him to help you pull and that you don't care that he didn't put her down here!
Nan demands Henry help her. He does not move.
Nan pulls the grate open.
Within the walls of the room, something loud and metallic rattles. There is a strange noise.
Nan asks Kim how she got in there.
She says HE put her in there. She begs for help.
Kim struggles. She screams that her leg is still stuck.
DEMAND THAT IT DOESN'T FUCKING MATTER HOW SHE GOT IN THERE, JUST THAT WE GET HER OUT AND HELP HER WITH THE WOUNDS. CAREFULLY INSPECT SAID LEG.
Grab her and pull! Ask her to wiggle her leg free!
Lean in and shine the flashlight around to see how her leg is stuck. Maybe you can help!
The entire room shudders as the furnace kicks on.
Something seems..."off" here. Keep in mind that not everything is as it seems in this quest.
...maybe we shouldn't help her?
NOOOOOOOOOOOOOOOOO KIM WHY
Get away from the furnace!
Make a mildly concerned face at Henry.
Back the fuck off. Do we have a fire extinguisher in our inventory?
Wait... Jump into the furnace!
Kim screams in agony.
She claws at the furnace fixture, trying to drag herself out of the fire.
>"DON'T LET ME DIE HERE! HELP ME! GET ME OUT! FOR THE LOVE OF GOD, FOR THE LOVE OF GOD!"
Grab her arm and drag her the fuck out already. What's wrong with you?
Grab her hands, pull her out! We can still save her.
Either something bizarre will happen, or it won't. If it doesn't, we'll at least have a slim (and, possibly, suicidal) chance to still save Kim (depends on exactly how hot the fire is, I guess).
Oh yeah that's right people take time to burn. Her hand isn't on fire, pull on that. If we're lucky either whatever had her foot stuck is burnt up or her foot is burnt up and she can get out more easily. She's probably lighter.
teehee, I see what you did there.
Nan and Kim grab each other by the wrist and pull.
They pull harder.
Well, keep pulling. If we get an arm we get an arm but we can't just leave her!
HENRY HELP NAN NOW
Order Henry to help you. Brace yourself against the frame of the furnace to pull with your whole body's strength.
Saving her at this point is probably just going to make her take longer to die of burn infections, and even if she doesn't she'll be some hideous ghoul for the rest of her life.
Uh. Really the best thing you can do is let go.
LEAVE HER! YANK THE WIRES OUT OF THE ELECTRICAL BOX!
Say, didn't Kim already have burn marks on her? Maybe this fire hurts, but won't kill people...
...kinda like hellfire. What was Kim's theory about the hotel again? That it was hell?
puke all over the place due to the revolting smell of burning flesh and hair.
>"What's going on? I heard screaming!"
FUCKING TIME SHENANGANS
"You're on fire." point to the furnace.
Well now you're going to look like a crazy person holding someone's hand as they burn in the furnace.
You crazy person.
But greet Kim with happiness and relief! A hug may be in order!
Tell her to pull the wires from the electrical box. Now, pretty please.
"KIM! HELP ME GET YOU OUT OF THE FURNACE!"
Tell Kim to help you pull this person out of the furnace.
Do we still have... otherkim's hand? Keep pulling and see if we can find out what is going on. Tell Kim that the hotel's being weird again and that she needs to help pull herself out of the fire.
IF EVERYBODY TINKLES INTO THE FURNACE SIMULTANEOUSLY MAYBE YOU'LL PUT THE FIRE OUT
Is the mostly-severed hand you're holding still stuck? Pull, woman.
Pull out whatever is left!
Pull it out!
The hand is still pulling.
"IT'S PULLING ME IN IT'S PULLING ME IN GUYS UH HELP HELP HELP HELP"
Let go. It's trying to pull you in.
Wait a minute. If Henry really didn't put Kim in there then what DID he put in there? Because he sounded like he had put SOMETHING in and was surprised to see Kim in there instead. This was a bad idea ask possibly real Kim to help pull YOU out instead.
you're stronger than some four-eyed nerdette who is being roasted alive. pull, dammit.
Quickly blurt out a synopsis of what's going on ("KIM YOU'RE IN THE FURNACE HELP") and then all three of you try to pull otherkim loose. If we can't get her out, consider going in after her (remember, things are topsy-turvy here). Afterwards we can discuss this bizarre event with Kim, with or without her doppleganger.
(I think it's a fair bet, though, that this means Henry or someone else will later toss Kim in the furnace. Unless we can use our foreknowledge to think of a way to free her beforehand, anyway.)
Nan continues to pull, but the counter-pull is stronger.
Something is wrong.
Ask the other two to help pull you out!
Jump into the fire! It's the only way!
"Pull me out pull me out PULL ME OUT"
Tell Henry that you believe him now and that he needs to help save you. Kim too.
consider asking for help. but do it only if you have to. you don't wanna seem weak to your compatriots.
Scream. Tell them to break the electrical box.
IT'S A TRICK!
Something's been trying to trick you into the fire! Either do this:
Or, better, see if someone can slice off those extra arms! We could try to see who they belonged too later on.
Hey...waitaminute...wasn't this quest originally intended to play on the fact that suggesters always try to save everyone?
WHATEVER YOU DO, DON'T SAVE KIM!
And LET GO.
Dive dive! The delicious flames beckon! Your friends are all in there!
OK you're just insulting the artist now.
Nan calls for help. Henry and Kim grab her by the shoulders and drag her away.
The grip on her arm is broken.
The furnace shuts off.
NOW tinkle in the furnace. y'know, to show your displeasure.
alternatively, ask Henry what the fuck he did.
alternatively alternatively, get the fuck out of there.
>Well no use staying in the place where you were almost murdered by ghost hands, Get outta there!
Thank them and ask Henry why he made such a specific denial of putting Kim in there.
First things first--try to get everyone to a safe place pronto. This place obviously isn't safe. Afterward the three of you can try to figure out what all this means.
Well, otherKim did blame him for putting her there. But then again, she did it after he denied it:
Noooooo all is lost.
> Look into furnace. That definitely wasn't just her; there were multiple arms.
The furnace dies, leaving nothing. Not even ashes.
The boiler room grows dark and cold.
Turn on your flashlight!
traverse the darkness and get out of here stalker.
Turn your flashlight on! Then everyone huddle together and try to leave without separating. Something's going on and we need to get to safety.
Turn flashlight on, and tell Kim what you saw in the furnace. She might have a theory.
Also, since it's been a while, can everyone check their inventories?
DON'T turn your flashlight on. Let your eyes adjust to the darkness.
Kim and Henry: DON'T LET GO OF NAN'S SHOULDERS
Stay in physical contact. Flashlight NOW.
Return to lobby posthaste
Is this just the hotel? That is Kim, yes?
Ask Now Kim if she saw anything happen with the furnace (or herself in it, for that matter).
Also, turn on your FLASHLIGHT. I have a feeling about this place....
Turn on flashlight. Prepare to see Pilgrim and Padre holding your hands instead of your buddies.
How about whip out that FLASHLIGHT and get the fuck out first. Then can we talk business!...
still grabbing the two, press against the nearest wall and, taking the month long resident's advice, stay in the darkness and make no sounds while trying to make out whats going on.
wtf just happened? D:
Oh yeah... I second your plan instead.
Changing my vote to
as well. Forgot about Santiago's advice.
exactly why I said 'traverse the darkness'.
Oh crap, forgot all about that stuff!
THIS. Carefully move about and let yourselves adjust to the darkness. And adjust in the direction of not here.
Nam check if you still have your screwdriver
GET YOUR FLASHLIGHT ON RIGHT NOW
I don't think we should get the flashlight, wait for your eyes to adjust while keeping in contact with Henry and Kim. I think Santiago my have been on to something.
Yeah, voting for darkness. We messed up with Santiago last time. He may be crazy, but he's got experience here.
Nan leaves the flashlight off.
After staring at the fire, it takes a moment for her vision to readjust to the dim boiler room.
Whisper. You need to move, to get back to a safe area- no lights, no noise. Careful, quiet.
I don't believe we've been to the good old LOBBY in a while, why not check there for anything out of place?
Nan leaves the boiler room with Kim and Henry.
Well I guess we're glad Nan's out of there.
>shadowy thing: drop down
Looks like Padre to me... We'd best get outta there and ask the others what the hell they just saw.
>>ready flashlight, watch back, grill henry on what actually happened
whisper to the others to keep quiet unless absolutely necessary and stay together. and cautiously keep an eye out for danger.
Remember the boiler room went dark, so that means there's likely a monster around that this place took favor in.
>Head to the hotel lobby, it seems like good a place as any to regroup.
Boiler room: collapse now that your support pillar has become a guy.
holy shit weaver, it's been 9 months, what the hell man, you had a baby or something!? still, good to have you back
all 3 of you keep contact with eachother and a wall at all times.
Calmly get the fuck out of there as fast and carefully as possible, while keep in contact with Kim and Henry.I'd say returning to the lobby is probably best too.
Nan, Henry, and Kim arrive at the first-floor landing.
Anderson is here, keeping watch. He is armed.
Nan asks Henry if he saw what she did. He replies that he thought he saw Kim in the furnace, but now it's clear that's impossible.
On the other hand, he says plenty of what they've seen already should be impossible.
Onwards to the lobby then- request the other two stick with us- strength in numbers and all, the big evil stalking monster NEVER attacks when the group is all together unless there is an opportunity to split them up!
What does Kim think about what happened? Also, if we haven't already, ask Henry about the cross pendant. While we're down here we might want to check out Henry and Pablo's old rooms, too.
The lobby sounds like as good a place to go next as any.
I think nan should come clean to Kim about this whole burned alive thing; remembering the time she saw her future self. Also The lobby seems like a good place to move now.
Ask Anderson and Kim what they've been doing.
Weird idea here, but maybe we should 'mark' eachother with something so we can tell the difference between the real us and the horrors the hotel is using to bait us. Probably pointless since the hotel might just copy the marks too but you never know.
Is the lobby the best choice? One (conceivable) entry/exit might not be wise when something could be following close behind. Would a shot from Anderson's revolver faze one of those creatures? Let alone the Padre or Pilgrim? For that matter, are we even sure that gun is loaded or is Anderson keeping it intimidation purposes?
Oh god so many questions, I love you Weaver
Where? On the face? I mean, that seems to be the most open space we have and it is most notable- unless like they are turned the other way and you approach them and they turn dramatically and they don't have a mark but SHARP POINTY TEETH AND GLOWY EYES.
A mark doesn't necessarily mean use markers or ink or anything, maybe tear up a sheet and make nifty little wristbands or something. Like I said though the hotel could probably just copy those too so they might be pointless.
I like the idea of using some kind of marking or identifier.
How about a passcode? Or perhaps an item they could produce? Nan's flashlight, Anderson's gun, Kim could take off her glasses?
What we should do is use a marking system where we add one each day. Example: if we were to use markers, we could do tallies and add a tally mark each day.
That way if we are dealing with future selves, they will have more marks when we see them. Although, if furnace Kim is the future of the current Kim next to us then that means that we won't have done that, because furnace Kim had no marks. Fuck, I don't know.
Haha, yeah destroy Kim's glasses, then there's no way she'll ever be FutureKim stuck in the furnace!
Nan tells Kim what she witnessed in the boiler room.
Kim is quiet for a moment, then asks what made Nan think it was her, and not the hotel itself.
She's right here. And it seems whatever was in that furnace wasn't trying to get out.
It was trying to pull her in.
Kim says it doesn't sound like an omen.
It sounds like a trap.
Ask Kim if she thinks that Ruby should not try to save 'her' in that kind of situation.
You really don't know why you thought it was her. You just wanted to help and stop people from dying. You'd be damned if someone died because of your inaction. You like being lazy and slow to the draw, but that's when it's work.
Should we have pass phrases for future traps? Could those work or could these illusions learn those from our heads?
You call "Microwave Pizza"
Tell Kim to remember it anyway... it could come in handy in the FUTURE.
Go to the lobby. It's where everything started, after all. It will be good to see how it's changed.
Point out that it sounded and looked just like her and that the hotel's obviously all about the whole "horribly killing everyone" thing, so it seemed perfectly plausible. You're glad she's okay, but you think it's important that we try to help eachother as much as possible.
Trying to save what, as far as you could tell, was her was the right thing to do.
Mention that it looked just like her, before the furnace started... Ask her if "For the love of god" means anything to her. It kept saying that.
YOU MEAN OPAL
*Whisper* to her that she should be careful around Henry in the future... the fact that he denied putting her in there was a little too pointed.
This might cause unrest in the group, but Henry's hesitation to help does lead one to suspect something.
Also, to test a theory of mine (don't we all have one?), ask Henry if he's ever had a girlfriend. I wonder if what Nan experienced when waking up next to him wasn't a glimpse into the past, like the time she met Pablo crying and he thought she was someone else.
Same poster. Also consider outright asking Henry about his specific denial.
>>385192 Pass phrase is a good idea. It'll also let us know that any instances of people we run into are at least from this point in time and onwards.
Hey, I've got some advice. Lighten up while you still can. Don't even try to understand, just find a place to make your stand.
And take it easy.
Do ask Henry directly about his suspiciously specific denial. It'd be a shame to stir up unrest in what really needs to be a unified group due to a misunderstanding.
some things are best not dwelled upon.
Sorry, got nothing...
Nan! Now is not the time to talk about how you saw yourself from the future earlier.
Because in that case, you lived what you saw later. And then Kim may think she'll eventually be in the boiler.
So don't mention that.
Threaten to beat Henry with a rusty spatula if he ever even thinks of throwing Kim in the boiler.
Ask if anybody's seen Pablo.
>Ask if anyone has thought of a plan of action on how to escape the hotel.
I guess we should check the second floor now and look for the Anazasi Lounge.
I don't think we would find anything useful in the Henry/Pablo old rooms,they are likely barred.
And let's use the stairs this time
quit confusing your precious gems, this is Opal, not Jade!
Seriously though, seconding idea of pass prase(s). Just keep in mind the person knowing it doesn't mean much, but if the person DOESN'T know it we MIGHT be onto something.
I still want to know why Henry insisted he didn't put Kim in the furnace, and don't really see any harm in asking him. Just treat it like an honest question and not an accusation - I don't think it's good to be too suspicious just because of an odd sentence, but if he knows/experienced something important it'd be nice to know it.
What if the "Kim" in the boiler wasn't referring to Henry, but to the Padre? After all...he WAS in the room with them.
If we go with Passcodes, don't let Henry hear it for now. He's too suspicious.
I'm not sure I agree.
If we go with passcodes, everyone in the group should know them. We can't be splitting up or ostracising someone now, not when our survival depends on us all working together.
I say if we do pass codes we should go with 'The Magic Words Are Squeamish Ossifrage' or just 'Squeamish Ossifrage'. Kudos if if you get the reference but that's not why I chose this. I reason that if if someone/something's eavesdropping, if/when they/it pull a stunt like that again(specificly feighning danger), they say the whole phrase, while if they're real (or really in danger) they're more likely to forget under duress parts of the phrase. Also they/it are almost certainly going to find out the pass sooner or later (or now if eavesdropping) so I reason that if someone when asked for it under duress get angry or says something like 'Seriously?! Now of all times?!' or 'Just help me already!' they're more likely real. Only someone actually under duress would act like that. Don't bring up the reasoning in conversation. That would defeat the purpose.
Interesting idea. I might get behind it, though I was kinda leaning towards something a few syllables long. That is, something short enough to be uttered in a single breath, in case we have to use it in emergencies. Your idea might be better, though, considering the hotel appears sentient and capable of actively mimicking us.
Oh! By the way! If we haven't already, we should ask Anderson what happened to the old Spanish Mission, in case he knows. As in, why was it reduced to ruins by his time?
Nan should tell Kim about meeting her future(and past) self
I am agree with this. Explain too kim that she needs to be very careful, but try not to get kim worked up either.
Well, honestly, I can't blame Henry. He was hidden alone in that room, mentioning that he was alone, when suddenly someone appears to be shoved into a furnace, with you being the only person there.
Ask Anderson and Kim how long ago (from their perspective) Nan left them in 313 to find the Lounge. Even IF time didn't do freaky shit in this hotel, Nan still couldn't be completely sure how long had passed during her "spirit vision" of helping Anna with the elevator.
Also, maybe its time to mention your interactions with Santiago with everyone? If you think that's a bad idea then nevermind.
How about a password that monsters would be really annoyed at saying? Like "The time is 4:33" or something.
How about 466 as a password? It seems to show up when weird shit goes down anyways.
Nan leads the group into the hotel lobby.
Nan asks Henry about his specific denial.
He shakes his head and says that there's already enough suspicion going around. He was the only other person in the room, so he thought it was natural Nan would suspect him.
Nan explains her encounter with 'herself' earlier as a point of comparison, but Kim doesn't seem worried. She says omens are one thing, but as long as they're alive they have free will. She seems intent on believing it was the hotel trying to get Nan, and that it only looked like her as a means to an end.
In light of whatever just happened, Nan suggests passcodes. But she's not far into explaining her idea when Anderson interrupts.
He asks Nan if she hasn't been paying attention all along.
This place knows who we are, where we are.
It's watching right now.
You want to talk trust, he's got a better plan.
Trust no one.
Aha! You need to go down to the boiler room and tease the monsters in there to turn on the boiler. This will activate the electrical wire coming out of the boiler room and light the chandeleir. And then... uh...
That's... actually a pretty good plan.
Right. Nothing seems new here (or is the opened mail slot different?) so... maybe we can check more of the doors on this floor. There was one that's all chained up, maybe we can work on getting that open again?
This place is trying to make us distrust each other. It sees us as a threat - and it definitely doesn't want us to co-operate with each other. We need to work together to get to the bottom of this so we can get out.
also check the mail slot.
Inspect the light-devouring cubbyhole.
Inspect dat mail slot.
Yes, lets extend our stay in this LIGHT-FILLED ROOM
Oh, and uh, check your inventory. It's been a while...
Examine the room. What is that on the counter? Bell? Registry? Telephone? What's in the cubby hole? Do any of those little doors open?
Also, tell Anderson that you're sorry but you're just trying to survive and keep as many of the people here alive as possible.
try the door. it's not like you'd be spending a lot of effort.
what is he suggesting? next time we see kim in trouble, not to help them?
fuck that. fuck that idea along with the hotel that necessitated it's conception.
Have Nan tell Anderson not to jump to conclusions, we're all friends here. Let's build bridges, not walls.
That's it! Brilliant! Build a bridge out of the hotel!
We should take the hotel and push it somewhere else!
Remember that the hotel becomes particularly aggressive either when Nan tries to leave, or breaks something. Breaking something seems to be an instant pass to dark hotel.
On another note, the painting in the hallway has disappeared and so have the flowers, and the stairs are back. So apparently the stairs can appear and disappear randomly. Could we get another perspective of the hallway(i.e. visible exits and turns, what is at the end of it, door or window),or even the entry hall for that matter, unless the unseen wall is completely featureless?
Tell Anderson that if you hadn't trusted An and gotten in the elevator you probably wouldn't be having this conversation to begin with.
ask if anyone has seen pablo.
If attempting to leave makes the hotel angry, perhaps it wants us to go further inside? For that matter, being grouped up and/or static seems to anger it too. Doesn't matter if we have friends present, it just pulls teleportation schenanigans to get us from them. All signs point to the hotel wanting us to explore, to find something here. And our continued 'freedom' hinges on not pissing off the silent hill hotel.
I guess this is the current thread? I just finished Ruby Quest a little while ago...
Suggestion: Try to find an original floor plan for this hotel. There had to have been one hanging around before everything went to hell and this turned into the Dolphin Hotel.
Nan retrieves the decorative totem from its slot in the mailbox of room 117.
It seems like lost items have a habit of finding their way here.
>Show the totem to everyone else, maybe they'll know what it is? Probably not, but its worth a shot.
Carefully inspect totem for writing, symbols, etc.
>Check inventory for something that you could possibly replace the totem with. Also, ask cohorts about this totem.
Seems like this could be a plausible idea. *shruuug*
Lost and found maybe?
Still, probably have to put that on some sort of ancient Hopi shrine or something... place like this was probably build on ancient Indian temple/burial grounds.
Speaking of lost things showing up, where did that green necklace of ours go off to?
Ask the others if anything has gone missing and showed up elsewhere.
Think Pablo has it, last time we had it was when we wrecked the clock I think.
Think we should ask them if they misplaced or lost something, then ask what everyone found in the slots. And what they found in general, some items others picked up might be connected to others (our necklace and henrys for example)
Room 117's mailbox, eh? If memory serves, that's the only specific mailbox that ever gets mentioned, and it's been brought up at least twice (all the other times we've found things in the mailboxes we were never told which mailboxes the items were in). Might be metagaming a bit here, but I suspect the author is trying to throw us a bone. Maybe room 117 is important? I think we ought to at least give it another quick examination and see if anything in it has changed (while watching out for the mirror, of course).
Same poster here. Just occurred to me that, to give us another reason to go there, Pablo might have returned to 117 after vanishing. It's where we originally found him, after all, and he seemed to feel safe there. Not to mention he was able to survive there for quite a while. It makes sense that returning there would be his backup-plan in case something went wrong.
Before we leave, check the room. What's on the desk?
Is this the same totem that was right beside the Safe Room? If 117 is a bust/trap then maybe we should see if the hall outside of the Safe Room has changed or if the totem was replaced with something else.
Definitely ask around about the totem. If no other better ideas, maybe rm 117 is worth a revisit.
Can you try and take the totem apart? Can it be disassembled at all?
Don't think the totem has any real value... save that it's lead us to find that the hotel brings things that are lost to the front desk
Let's check rooms 114 and 117 while we're down here.
Seconded. Let's finish examining the front desk room first though.
Check for Pablo in Room 117.
No. Breaking things makes bad things happen. We break a vase accidentally, lights go out. We break the clock intentionally, we get sent to mindfuckville.
Wait, we still have that magnifying glass from last time we were in the lobby!
EXAMINE TOTEM with MAGNIFYING GLASS.
it sure sounds like your typical run-off-the-mill Overlook Hotel Syndrome when you put it like that.
>Tell KIM to examine the TOTEM using her THIRD EYE.
Henry is wearing the cross necklace.
As for the totem, no one appears to recognize it.
Turning it over, Nan finds something scratched into the base.
Nan uses the magnifying glass.
Pablo! We must locate and question him on the totem.
The totem belongs to Pablo?
Is there anything inside it?
Let's bring it back to where we last saw the thing. The "safe" room.
Anderson tells Nan that he and Kim are heading back to the third floor safe room. They only came out because Nan had been gone for a while and they wanted to make sure she was all right.
If she wants to come back she's welcome to, but he's going to stay with Kim to make sure she gets back all right. If Nan wants to keep exploring, that's her business.
Henry offers to stay with Nan.
Nan decides on a long-overdue check of her inventory.
She is carrying:
Check from Fun Family Arcade
Key to Anasazi Lounge
All right, to 117
Just tell Anderson to keep a real good eye on her and warn Kim again, that if she does end up in the future-past in that furnace, to not get her foot caught. Then tell future-past Nan this totally happened before. Even if she did think it was just a trap.
Also for Anderson to not lose his humanity completely to cynicism.
Gotta be real careful. Can't be too much so in this place.
Keep ahold of that check. It might just be your ticket out of here. I don't know how this hotel treats external third party financial obligations.
Let's get to the "safe" room.
I don't suppose Henry knows where the Lounge is, does he?
Arm Henry with the LEAD PIPE and take him with you to check out 117, Pablo's room.
Don't forget to see if Henry knows anything about the CROSS PENDANT.
Look for the Anasazi Lounge
Ask henry if he knows where the lounge is, and if he doesn't then head down to 117 to look for something that might let you know more about the totem.
Let's just check out each room on this floor, then the next, etc... for as long as the lights stay on.
Henry gives Kim and Anderson most of the supplies he gathered from the boiler room, and they head back to the safe room.
Nan and Henry head to Room 117.
Nan asks Henry if he knows where the Anasazi Lounge is, and he says it might be on the second floor, since he hasn't seen any entrances like that on the first and third.
Henry asks Nan what it is she's looking for in Room 117.
Pablo. Traces of Pablo.
Tell him it's where she first met Pablo, so he might have gone there when he got separated from the group. Also, the hotel took her away from there when she broke the clock, and she's wondering if there's a reason for that.
Tell him we're trying to find Pablo and figure this whole business with him out.
Also, ask Henry if he'll hold your hand. You know. For safety.
on the way, accidentally drop your overalls.
Let's answer his question with our own, for I had a sudden thought: we're all from different time periods, right? So does the hotel look the same to everyone ... does it seem to "fit" when they were "outside"?
Because if so, then it means we see a different hotel.
Huh... I don't expect it does, but it's definitely worth asking.
It probably exists on it's own timeline. Santiago got here a month ago, but is from the 60s, Anderson was here a week, but is from the 20s. Time here and time in reality seem completely unrelated.
Explain to him that backtracking when you don't know what to do is a staple of adventure games.
(and we're to scared to go to the 2nd floor)
Is the door handle of room 114 moving?
>Tell him you don't know.
Could this be a warning to turn back, guys?
tell him you're looking for those beans. It's been a while since you've eaten.
We're looking for two things:
I see no advantage in withholding either reason from Henry.
You might also want to mention that we're searching for clues in 117 because of potential leads we've picked up, however weak they might be.
Mmm, how about Nan go back there for that one mouse? Seems to be extra friendly, maybe it's a particularly important mouse?
Walk in room. Find Pablo dead/sleeping.
Go in. Say hi to mirror Henry while you're at it.
We should be careful and cover the mirrors. Cover them, mind you, not destroy them! As earlier suggesters have noted, breaking things seems to tick off the hotel. Then again, covering mirrors might, too, if that foils the hotel's plans.
am i missing something? what is this arcade we're carrying?
It's the check we got as payment for fixing the arcade. Way back at the beginning before we entered the hotel.
Nan says she needs to find Pablo.
Even some trace of him.
Nan and Henry open the door to Room 117.
grab the thin under the vase if it's anything before going in.
Honestly, blood at this point is pretty meh
At least unless it grows eyes or something
Trace officially find. Grope for the light switch. Shine the flashlight on your hand while you do.
Welp, time to get licking.
You want to know if it's some trace of him, don't you?
Jesus christ, it's just like your dream.
Is that the bed? I think we should investigate the hole.
look at the roof, the lights are broken.
That is a very valid point. I don't suppose the maintenance closet has replacements either. Well, go in and drag whatever that is out into the hallway. Stay in the light from the hallway.
No sign of Pablo. But Nan's seen this before.
A tall, flat canvas streaked red.
The light switch doesn't work. The lights are broken.
Get in the hole you goat.
No hole. Bring it out into the hallway.
Take a gander at the back of the canvas. Check out that hole on the wall too.
Get Henry to check hole and bathroom for scaries while you check the backside of this canvas.
have henry hold your hand, next time we inevitably get teleported to some other version of the hotel, at least we'll have a friend.
What's behind the canvas?
enter hole. have Henry ready to pull you out if anything happens
Seconding checking out the hole. Use the flashlight.
THERE WAS A HOLE HERE. IT'S GONE NOW.
My suggestion goes to checking behind the canvas before exploring some strange dark hole
make a mental note to compliment Pablo on his visionary sense of interior decoration when you see him.
Fifty says there's a person behind that canvas.
I'm also going to have to encourage the checking out of the hole with Henry ready to pull you out in an emergency.
i'm pretty sure pablo is hiding somewhere within this room.
check the hole, the bathroom, and the canvas.
Nan, please examine the canvas thing from the OTHER side. You know, away from the mirror/ bathroom where things could easily jump out from.
Turn the canvas around, then have Henry check the bathroom while you examine it.
While Henry checks the bathroom, Nan pulls the large canvas out a little, checking behind it. But there's nothing but a blank wall and the wood-braced back of the canvas.
Henry says the bathroom is empty.
Did you just get bloodRED PAINT all over your hand?
What is the LARGE BLACK SPLOTCH?
Aw Nan, you got stuff all over your hand. Go wash it in the sink and ask Pablo to check the rathole.
Either 1. touch something else to the canvas to see if it gets stained, too or 2. peek in that hole with the aid of a flashlight.
If you actually go in the hole, make sure you and Henry go together and stick close. You can't risk getting separated. Being alone in this hotel is a recipe for disaster.
Guys... that means it's fresh... :( Pablo is a splatter artist.
>Nan: From a safe distance, turn your flashlight on into the giant hole. Peer into the hole to determine your future.
Guys, don't you remember what happened LAST time we tried to crawl into a space? SCISSORS
Wasn't there a theory the hotel doesn't like lightening parts up without questioning?
Not that we have much choice, but shining into the hole may lead to another black scene.
But hey, be optimistic! Pablo just found a bucket of red paint and likes to express his feelings like this... the hole got bigger because the helpful mouse grew... big... and Pablo is currently helping it to bring a really big can of beans here...
But you have to admit that nothing hurt us back there
The tacky, red substance on the canvas comes off on Nan's hand.
Yay, so now only pablo has to come through the hole with his 2m-mice-friend and give a bean-party!
>scene around not shown
Equip lead pipe and spin around to examine the room. Be ready to parry something and make a break for it.
In the painting dream, Pablo said something about making Nan live forever. Maybe he's just an artsy type, but maybe these painting actually have more going for them.
Try cutting the canvas, stay on alert for reality-changing shenanigans.
Pablo being an artist is an interesting theory. We should definitely ask him about that the next time we see him.
But don't cut the canvas. Remember, damaging hotel property tends to tick the hotel off.
Next step should be to examine the hole.
Nan shines the flashlight into the hole - from a safe distance.
It's a short tunnel, perhaps six feet deep, and narrows a bit near the end. It's unobstructed.
There appears to be a room on the far side. Nan can't make out much from here, save what could be wooden furniture. A bench, perhaps.
Fit through hole with GIRLISH FIGURE. Wait... No that sounds right.
henry: DO IT FAGGOT
Both of you--carefully--crawl through the hole and into the other room.
Make sure whoever's in back always keeps a hand on the person in front when you're crawling through the hole. You'll be vulnerable while crawling, but hopefully this'll at least make you harder to separate.
I wouldn't be surprised if it leads into the bar-room with the nan-nan-encounter and we are starting the fire because of padre...
although that would be the other end of the hotel.
Nan crouches down and crawls through the narrow tunnel.
Henry follows close behind, keeping one hand on Nan's ankle to maintain physical contact.
Nan has entered the CHAPEL.
nan: use THIRD EYE to examine GLOBE.
... what's on the podium?
Well, no monsters, but also no Pablo or beans...
Mind take a look through the windows of the doors?
Maybe from the distance first.
If it wasn't obvious before it is now: There's major religious theme in this quest. Specifically a Catholic theme. Gives me some ideas for experiments if we ever run into the big three again (hopefully not anytime soon, of course).
I imagine this is a remnant of the old Spanish mission. That looks like a Bible on the podium, or perhaps some other liturgical book. Examine it to confirm. Also take a look at the plate/band/whatever it is on the bottom of the cross.
Oh, and is that sphere above the cross a window or something else?
Examine cabinet on the left.
have nan look back down the hole to see if henry is still there. if so, report back to him.
I think that's a confessional.
Oh! Forgot about Henry! He should be right behind us. Let's enter the room and help him out of the hole.
Nan peeks through the tunnel behind her. Henry is still following, waiting for Nan to go through. Nan relays what she sees, which includes a podium, single pew, cross, and stained glass window.
Though there is clearly something wrong with the window.
Henry confirms, and suggests it's almost to be expected by now.
Rule one of Strange Religious Locations:
DON'T TOUCH ANYTHING BUT THE FLOOR
There's a book on that podium. Is it a pretty normal looking bible or is it something weird?
Wait, are we stuck? They did say that the tunnel tapered near the end...
>Enter chapel. Examine the book on the podium. If it's the Bible, what book are they reading? See if verse 4:66 is there. Blink twice if you understand.
...Is Nan religious?
Certainly not in her duties as an electrician. ZING!
Good question. Makes me wonder if any of the other characters are religious.
Maybe that has something to do with why they're here?
I think we should definitely keep that in mind. We can ask Henry now and the others later.
>Ride crucifix like mechanical bull.
Nan enters the Chapel to examine the book on the podium.
No time to Santiago. Lift that chest off of Henry's arm!
santiago! take me with you!
His arm's probably not broken if that's an empty armoir. Maybe just a bruised bone. But it hurt like a bitch.
It looks empty, with some struggling and if the arm doesn't hurt too much, Henry could wiggle it back into the hole himself.
Tell him that that was mean, and lift the thing off of Henry's hand.
Son of a...
I hope he didn't break Henry's arm! :<
So, do we go for diplomacy or violence? Santiago doesn't look willing to talk, but I'm not sure we could handle him in a straight-up fight...
lift thing. if san starts being a dick about it tell him to fuck off.
Same poster here.
On second thought, that armoir looked like it was aimed at Nan. We just happened to crawl out of the way in time.
Time to fight?
I say we offer a greeting and gauge his reaction from there.
One hand covertly on the lead pipe, but don't draw it out quite yet.
Listen to me, you little bitch
Obviously you didn't take the hint last time
So let me spell it out for you
You are ruining things here
The hotel can abide a guest or two, but if you attack it, as you have been doing, it will defend itself with violence
It will fight back
And it will win
And anyone can be caught in the crossfire
You can't fight this
You can't help anyone
Point the flashlight at his face. Should be pretty irritating at least, having bright lights aimed at your eyes sucks. Ask him why he looks so pissed.
What have we done to attack the hotel?
He's clearly already angry. Why do something just to piss him off more?
Politely ask about the injury on Santiago's forehead.
I think he made it pretty obvious why he's pissed. This place is his Paradise. If he thinks we're a threat to it, then he'll do whatever he can to stop us.
Then again, he might be worried that we'll get ourselves hurt. Depends on how you read his statements.
Does Santiago have a soft-spot for us? Or is he just defending his precious hotel?
Yeah, so far you seem to have just been trying to prevent everyone from getting killed. Ask him exactly what you're doing that's angering the hotel so you can stop.
Written before latest post. I suffer from chronic late post syndrome :(
Hmmm, don't see how to talk our way out of this, we were just checking on Pablo. Ask him what he means by attacking, playing somewhat stupid seems like the best idea. We are still pretty damn new after all.
Ach! I shouldn't be making another post, but I have to point out that Santiago's line:
"The hotel can abide a guest or two"
Seems to imply that we aren't supposed to be here or, at least, that we aren't here by the hotel's wishes. Conversly, it implies that some of the characters are supposed to be here. Did something else bring us here? Are we here for a purpose? Maybe we just got caught up in this accidentally?
At any rate, this shows that the hotel isn't the all-controlling entity we may have believed it to be.
Explain to him that you are not a guest. You are simply here to fix the wiring.
If you insist on bringing light to the darkness, realize you won't always like what you find
Some things are better left in the dark, Nan
Some things should never be brought to light
If you continue to work against the hotel, it will retaliate in kind
And you will put us all in the line of fire
If I have to kill you myself to stop this war, I will
Don't think I will hesitate
For even one second
Actually, I really like this idea. Perhaps Santiago wight have something to say about this.
>>Tell Mr. Saint James that you're here to fix the wiring. You were sent to help the hotel. ALso, what war?
>Tell Mr. Saint James that you're here to fix the wiring. You were sent to help the hotel. Also, what war?
then we will take the monsters out with us.
SANTY! YOU'RE ALIVE! I'M SO HAPPY
I MEAN YOU'RE KINDOF SCARY RIGHT NOW AND THIS HURTS A LITTLE BUT STILL
THIS IS AWESOME
Goddamnit we don't want to fight the hotel! We want to flee.
We're not trying to force you to do anything we're just kindof blundering around here trying not to die.
And the hotel keeps yelling at us and throwing visions and sometimes it's like it's trying to tell us something and other times it's just crazy crazy crazy all the time
But the last while or so since we woke up that's seemed pretty normal I guess I mean except for the furnace thing but the lights haven't gone out or anything
And we've just kindof been wandering around exploring even though we don't really know what the hell we're doing
Oh god Santy we have no idea what we're doing
So, we aren't to look around and we can't leave. What does that leave us to do Santiago, sit in a room and wait for something to kill me?
Say fine though your getting confused about what IS an Attack and what isn't
Can you be friends with the hotel? Tell him you will be proud to shake it's metaphorical hand and have a fucking tea party with it. Santiago is free to join.
You have to take the path that will get us out of this place alive though. Don't tell Nan it's impossible. Everything is possible. If this place can exist in the world, a certain set of actions can get us back in the world. We just need to figure out what before we all die. No one knows for sure about outcomes, at minimum, there is a very near zero chance of escape. But there's still a chance. You can understand having no hope when there's near zero chance but you have to take it, because, as lazy as you are, you don't give up on living. Because you have to survive. We have to survive as living creatures, that is what we do. We survive until we die, and we all fight to survive the longest and delay death. The word fight in that sentence is debatable and replaceable with other verbs as well.
Your going to die on a deathbed next to your grandchildren and no fucking padre or pilgrim or SANTIAGO is going to change that.
Ask what it is that we are doing to upset the hotel. You know, so we don't do it again.
Boop Santiago on the nose.
Waitaminute, war? There's a war going on?
Between light and darkness, perhaps? Or something related? Makes me wonder... I mean, we know who the agents of the dark-force-thing are (i.e. the big three and the "uninvited"), but who are the agents of the light-force? Or...is Nan its agent?
And if the light-force has a thing for Catholicism...is it the Catholic God? Is Nan a Paladin? :V
Clearly it is our divine mission to cleanse the hotel of evil and save the souls within! Deus Vult! :I
Serously, though, there appears to be a war between light and darkness, and Nan may well be the agent of the light-force. Maybe it's responsible for bringing her here?
He's saying the problem is light, I assume both literally and as in 'to bring to light'.
You say this place is freedom Santiago, then turn around and say we can't do things, that you or the hotel won't let us. So what is this place Santiago, the prison you said it isn't, or freedom? Because I think I am free here, and I am going to use it to leave regardless of if you or the hotel tries to stop me!
This (or a variation of it) must be said!
Nan says she has not intentionally attacked the hotel in any way she was aware of. But she has fought, and she will continue to fight for her survival.
If this place is truly freedom, she says, she should have the freedom not to go quietly into the darkness.
Santiago growls, then roars. He spins around, throwing Nan at the pulpit.
Damnit, much as I don't want to, we may have to fight Santiago. Ask him : "So is this a fight or what?"
pull pipe, attack.
Throw the Bible at Santiago, see if it burns his flesh or not.
BIBLE BEATING FUCK YEH
GRAB THE BOOK OFF THE PULPIT AND SMACK HIM IN THE EYE
WE WILL EITHER,
A) Enrage the hotel at our misuse of a sacred object and cast everything into darkness, forcing Santy to flee,
B) Something metaphorical about holy books and light blinding the darkness in Santy,
C) Hit Santy in the eye with a fucking book.
But I wanted to see what verse it was open to. Unless it's a black bible.
Pipeon, apply directly to the forehead. Pipeon, apply directly to the forehead.
Nan goes for her lead pipe, but he overpowers her. Grabs her wrist.
Santiago bares his teeth.
Bad little girl
If you won't do as your told then you'll have to be punished
Kick him in the nuts!
OH GOD! HE'S GONNA RAPE NAN!
headbutt him quick!
Headbutt him. Ya got horns for a reason.
Yell to him that he's not your father
You barely know him
He does not get to talk to you that way
Yeah STOMP 'EM IN NUTS, STOMP HIM IN THE NUTS BITCH
Call out for Henry and hope he's freed himself by now.
Also, I know our species isn't supposed to matter, but now would be the perfect time for a goat headbutt.
If all else fails, try breaking something to get the hotel involved.Then again, since it's sentient, it might just help Santiago.
make suggestive faces at santiago.
Don't goats have to charge from a distance to headbutt someone?
Oh also, read the book while you're up there Nan! Read the book!
'So, you don't believe in freedom, only in indulging yourself.'
Kick to the nads, hard to perform when your jewels get smashed.
Guys, have you noticed that Santiago has gotten a lot beefier since we last saw him? And the whole "YOU CAN'T HELP ANYONE, NAN" Has been stated by both him and the Pilgrim. There's something fishy there.
Anyway, attempt to kick him back or force yourself away, if his intentions are violently sexual a ick to the groin would be good.
HEADBUTT HIM IN THE GROIN
Not a charging headbutt, a close-combat headbutt. Head forward into soft fleshy bits of the nose or horns forwards towards his eyes.
ADRENALINE POWERS ACTIVATE, HEADBUTT TO THE HEAD. If this succeeds in getting you free, run through door. If not, keep resiting until you can run through door. If suddenly, a wild Padre appears to demonstrate Santiago's point about the hotel reacting, get chest off Henry's leg and crawl the fuck outta thar whilst it fights Santa.
Santiago bites Nan's arm.
Nan tries to headbutt Santiago, but he's too close for it to be very effective.
Nan reacts quickly, slamming her knee into Santiago's groin.
He barely reacts.
So, while this is all happening I bet you could use some good reading material. Like that book over there. You should read the book.
Call for Henry! NOW! Say a quick prayer if you have to! ANYTHING!
I like this idea, but I'm afraid saying that might piss him off even more and make him do something worse if he doesn't go into a rant.
Go with a close-contact headbutt and shake him off without hurting him so he won't hate Nan even more later, if possible. If you can incapacitate him, take the chance to get the furniture off Henry.
Drop to the floor! He'll lose his balance.
Oh, so he's just insane. That...that doesn't really make things better.
He's crying. Tell him something like "You don't want to do this"?
Santiago has no balls
that was a cunt punt or he's castrated himself before. Probably the latter seeing as he still matches a masculine build
That or Nan didn't get a good kick in.
Stomp on his feet, kick his knee, grab absolutely any sturdy object out of your pockets and hit him with it.
Ah, thats what I was thinking of. Provided Nan can pull off some CQC, we could use his lust against him. Feign acceptance, move in closer to him. Put a hand on his back and behind his head, and draw one leg behind his knee. Pull with the leg, drawing his leg forward, pivot, and slam his head in the wall.
This hotel is not arm safe. Poke him in his big eyes and try to get your other arm free from his mouth. If that works then try to duck down so you're below him so we can >>386483.
Quick, Nan! Knee to the groin! Santiago's hostile and unpredictable, so we may be forced to kill in self defence.
Also, it looks like he might be trying to infect you with darkness or something. I'm not sure how to resist, thought. We're vulnerable. All I can think of is prayer. Maybe call out to the Padre? This is a holy place, dammit! Surely enough of the Padre's former self remains that he'd be furious about Santiago's actions.
Well, those look like tears. That's a reaction.
SANTY WHAT THE FUCK IS WRONG WITH YOU
I MEAN, I REALLY LIKE YOU AND ALL
BUT YOU'RE MAKING THIS REALLY DIFFICULT
Santy, I honestly do like you. And I don't want you to die.
I really honestly don't.
But if it comes to a choice between us dying or you. I will not fucking hesitate either.
Please stop, Santy. I don't want you to get hurt.
ALSO SHIT I DON'T KNOW PUNCH HIM IN THE EYE
KEEP KNEEING HIM IN THE GROIN
YELL FOR LORENZO
I DON'T KNOW
Nan stomps her heel down hard on top of Santiago's foot, and he howls in pain.
Rather than releasing her, his grip grows tighter. His ragged, unkempt fingernails dig into her skin.
Nan claws back, kicks him in the knee.
Santiago cries out.
Does anyone else see the darkness spreading?
If he doesn't react to a knee to the groin I don't think Nan can fight her way out of this one. She's not a trained combatant, so advanced techniques are out of the question and he's not responding to pain because he's a lunatic. Check the book for something.
Tell him that he doesn't want to do this. Who knows, he's crazy, maybe he'll listen to us. Plus, he's crying. Let's talk him down while we still can.
If you have a free arm Nan, get him in his Adam's apple. Even a headbutt will do just close his fucking throat in.
Also, I think Santiago is giving us a hint: "if you attack it, as you have been doing, it will defend itself with violence"
I could be wrong, but I don't think violence is the solution here -- it will only make things worse. That darkness IS spreading.
Yes, but it could just be thematic. Or its not. Still less imortant than RIPPING AND TEARING Santiago's guts and nearly being raped.
Jab one of his eyes. Fight dirty.
His mouth is open and her arm is free. Get the lead(pipe) out and ram it down his throat! If his mouth has closed by the time you get the pipe go for his knees or eyes!
This is probably a shitty idea, but if using more force doesn't end up working, try a hug. Sometimes crazies need that and they turn into a pool of tears and mush.
Get down below his arms so it's harder for him to grab you.
Santiago suddenly lets go of Nan.
Henry says that if he ever touches her again, he'll break his neck.
He's only really got a grip on your shirt. Drop out of it.
Yay! Henry to the rescue!
I think that's the shadow cast from the window.
Maybe hug him? I don't know.
Really throw all your weight into it while he's distracted with pain. Knock him to the ground and hug him with all your might.
Sortof a combination "stop attacking me you psycho" and a "please let me help you."
Knock it off Santy! We're heavier than you! I think!?
> ragged, unkempt fingernails
... how long have you even been here, Santy?
Nan slap him for nearly raping you and ask WHAT THE FUCK this was all about
You know, why fucking wait, man.
Now might be a good moment to fix our clothing. Then tell Henry we owe him 2 favors now.
SUDDENLY, A WILD HENRY APPEARS
Get some breathing room, Nan. Equip Pipe.
Alright, pull your clothes back on, and give Santiago a good slap across the face.
Then ask him what you were doing that he considers fighting the hotel. It'd be nice to know what we're doing right/wrong.
Time to get info. Got any questions?
Don't forget to ask about the mirrors! And the Pilgrim!
Tell him that all you want is to go home and keep your friends safe, you don't want to hurt the hotel.
Start off by forgiving him. Not his fault he is so unstable, being in the hotel for a month will do that to anyone. If he wants, we can try to get him out of here with us to meet some nice men in white coats with delicous Lithium candy for him. If not, we are leaving with or without his help, but we will be gone quicker with help and knowlege, something he has.
Well never mind I guess you don't have to read the book. Probably nothing important in it anyway.
Patience. We'll get to it in time. The quest is directed by the combined will of the suggesters and the author, and at present that collective will seems to think Santy is the more pressing matter. We'll get around to the book.