imaginemeandyuu | Alma's unconscious game

Entry tags:

ic,
unconscious

Alma's unconscious game

((Alma's unconscious game goes here! I have put up a discussion plurk here since I know a bunch of the folks playing it don't use irc, any questions etc can go there. If for some reason you don't have access, let me know.

Since a large part of this unconscious is puzzle-based, if you need to leave and come back later: 1) you can handwave that you went along with the group or 2) if you want to explore everything yourself still, feel free to assume your character wandered off/back to check something (etc) -- but note that when you come back, you'll find whatever puzzles have since been 'solved' will remain 'solved'. It won't reset, so any paths that are opened or anything like that will stay that way.

That said, there are multiple things to do here, and changes still impact things, so if you oocly have to leave and come back, and when you do everything seems 'done', there are at least still things to look at and possibly multiple paths which you might want to do something about, so don't feel discouraged from starting back in after other people have opened doors or w/e)).

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You find yourselves in a small suite of two rooms, joined by a stone archway. There are no windows anywhere. In one side of the archway a blue orb is embedded in the wall, and in the other side, a red orb is.

((For ease of readability/keeping track of things, I'm separating this out into headers, but you can see everything that's in both rooms and the arch from any of the rooms.))

React to waking up in this crazy area! Meet your fellow exploradoras! W/e w/e!

The left room is a large elaborate dining hall. A long wood table takes up the majority of the room, with chairs circling it. Although the seats look comfortable enough, they are strangely decorated, jagged chunks of wood emerging from the back -- not in a position to hurt anyone who's sitting in it, mind, it just appears to be an odd decorative feature. There is only one place set at the table, although there are plenty of seats. The plate is empty and does not appear to have been used; the cutlery likewise is clean.

In the centre of the dining table is an adult male human corpse, nude. It is otherwise unrecognizable, distinguishing features having been sliced off. Long white-blond hair has been neatly cut off and arranged in twists around the body for presentation. A butcher's knife is embedded partway into the meat of the left shoulder, as if somebody had been about to serve the corpse up, but no pieces have yet been sliced off.

Heavy-looking steel chains wind around the table and lead across the floor to a square indentation in the ground. It looks as if it might be some kind of trap door.

The right room may have once been a doctor's office. At least, there's a small medical-style bed in it, pushed up against one wall, but the bed is almost completely wrapped in chains, the metal of the bedframe warped by how tightly they're wrapped. A counter with a sink on it is on one wall; over that is a medical diagram of the female reproductive system. A bowl with five eggs in it sits on the counter. The floor is made of some kind of crystal, semi-transparent, with shapes lurking deep in them; you may be able to make out more if you get down on the floor and really take a hard look. This side of the room is largely untouched. However...

The other half of the room from the bed is mostly smashed: chunks taken out of the walls, large crystal fractures radiating across the floor, debris and gravel from whatever has happened here lying liberally around the room. A sledgehammer is left lying in one large dented fracture in the ground, its handle sticking up. What looks like an oversized bird cage has been completely demolished, bars twisted and wrenched open.

Chains wind around the room, in and out of the walls, in and out of the floor. On the smashed side of the room, they are broken, chain links scattered among the other debris. Many of them, along with stone and crystal chunks, hang in the air on the broken side of the room, defying gravity. It's almost pretty, the light catching on the floating debris and twinkling.

Two chains from the bed lead to a square indentation in the crystal ground. It looks as if it might be some kind of trap door.

You descend the ladder and once you hit ground, lights come up. You find yourselves in a small suite of two rooms, joined by a stone archway. There are no windows anywhere. In one side of the archway a blue orb is embedded in the wall, and in the other, a red orb is.

((As before, despite the headers, you can see everything from any of the rooms))

This room is knee-deep in blood; it stops where the arch is as if meeting an invisible barrier, though you certainly can't feel one if you try to pass through that way. The blood is warm and thin, not congealed at all; the smell of the blood is overwhelmingly pervasive, though it too stops at the arch. Perhaps this blood comes from the bodies scattered everywhere -- bodies of men and women in coats that were once white, thrown in piles, floating face down in the blood, hanging from chains in the ceiling.

There is a body in the dead centre of the room, impaled through his torso on a large metal spike which rises from the ground. The man here is handsome, apparently on the younger side of middle-aged, with blond hair and an agonized expression. He's facing upward, head tilted back. The spike is about five feet high; he's about two feet down on it.

The blood whirls and eddies in one spot in the room, as if there is something beneath it which is causing motion in the water. Chains appear to be leading to it from the tall spike.

This room is a lavish bedroom. There is a grand king-sized bed in the middle of one wall, the covers completely messed up, three pillows by the headboard but askew, overlapping each other. The bed sheets are a warm, flushed shade of pink. A very small amount of blood is on the pillows. On either side of the bed are bedside tables. The room smells faintly musty.

There are a pair of crossed Japanese swords mounted on the wall opposite of the bed. Yes, they are both Mugen. A kaleidoscope blossom is tucked between them, colours shifting mesmerizingly. But it is not the only familiar flower here.

Fairy lights are strung everywhere. They surround the bed like curtains on a four-poster bed, though drawn back likewise. They are strung loosely across the ceiling like streamers. They wind across the floor gently. The light from all of them gives the room itself a warm, inviting glow, like something out of a fairy tale. The walls themselves are painted white, and catch the glow from the blossoms brightly as a result. They are warm to the touch, and feel soft and smooth, like skin.

Several of the strings of fairy lights sink into the ground on two sides of a square indentation in the ground.

You descend the ladder and once you hit ground, lights come up. You find yourselves in a small suite of two rooms, joined by a stone archway. There are no windows anywhere. In one side of the archway a blue orb is embedded in the wall, and in the other, a red orb is.

((As before, you can see anything in both rooms and the arch from any other point on this floor.))

To the Exorcists, this style of room is very familiar -- it looks like a bedroom at the (old) Order. Stone floors, stone walls, a narrow, dungeon-like feel. Someone has scrawled a prayer for the dead on the walls in what appears to be lipstick. A bed here has black sheets, tightly made over the thin mattress on a metal frame. A book is sitting closed on top of the bed -- it appears to be a romance novel. A pair of old-fashioned roller-skates lies against one wall. There is a bedside table with a wash basin. A locket is sitting on the bedside table as well, closed. The standing wardrobe is full of dresses -- walking dresses, evening dresses, even a nice gown in there -- as well as several Black Order coats, in an old-fashioned style and cut to fall easily around a gown.

There is a dressing table with a mirror on it; the dressing table itself has a small array of cosmetics laid out on it. However, even a cursory glance at the dressing table will make the mirror of much more interest as the reflection doesn't reflect the room identically. It is almost the same but with two jarring exceptions. First, in the reflection, the bed is a coffin. Second, in the reflection, a woman's corpse is collapsed on the floor. She is beheaded, her head lying some feet away from her body, eyes closed, lips blue, the stump bloody but no longer bleeding. Her body is dressed in the same style of clothes that were found in the wardrobe. To some of you, she most likely quite familiar. She has dark blonde hair coming loose from a ponytail, and a face that is somewhat plain (wide forehead, round cheeks, an unremarkable nose) but might be pretty if she smiled; however, her face is tight with what looks like grief rather than fear or pain. Tears are still visible on her face.

Chains run over the walls in both the real room and the reflection, wrapping around generally, and they eventually terminate in a square of the floor -- but only here, not in the reflection.

This room appears to be a theatre dressing room. Several bureaus with mirrors are arranged around the room; each have what look to be a lot of thick makeups and wigs and so on. Waste bins sit beside each of the bureaus. They are empty. The lights have pink lampshades on them and cast a rosy, warm glow around the room; the room itself is comfortably heated and has a nice floral scent to it.

On the mirrors are old, faded black and white photos of weddings -- perhaps some sort of inspiration for whatever actor was to be performing, as the costume carefully arrayed on a dress form is a long and extremely fancy wedding dress, white satin and white silk and white lace, with pearls carefully hand sewn onto it to make fancy patterns. However, it looks like there's been some kind of accident: ink has spattered the dress, marking it with deeply sunk swirls and spots of black. A crumpled handkerchief lies on the floor, as if someone has tried to clean up the dress but had given up.

A wedding contract lies on the nearest bureau. One name -- illegible -- is signed to it, but the other blank has not been filled in. A quill and ink pot sit nearby. On another bureau, someone has doodled hearts all over a picture, to the point that whoever was in it isn't visible anymore. The hearts are in all kinds of shapes and styles and really stupidly cute and happy.

Chains surround the dress form and wind over the room to disappear into a square of floor near the dress.

You descend the ladder and once you hit ground, lights come up. You find yourselves in a small suite of two rooms, joined by a stone archway. There are no windows anywhere. In one side of the archway a blue orb is embedded in the wall, and in the other, a red orb is.

((As always, you can see anything on this floor from anywhere in this floor))

This room is a hideous bloodbath. While not the sea of blood from some floors up, blood splatters still nearly every inch of this stone room. The exception is the ceiling, which is painted a brilliant blue.

However, that's not all that spatters the room. A child's body parts are scattered around; here a scrap of brown hair, here a small finger, and worse, unrecognizable chunks as well. A sobbing fills the room, (though the moment you enter the arch to go to the right room, you can no longer hear it).

A boy is here -- sort of. A beautiful ball-jointed doll, dressed in bloody scraps, its chin-length black hair matted with blood, sits next to a deep, apparently bottomless well of blood. He is loosely gripping a sword and his eyes don't seem to see anything in front of him. It isn't him who's crying, though he is making a sound that you can only hear if you get very close: Kill, kill, kill, kill, kill...

On the other side of the doll from the pool of blood is a small square in the ground.

Half this room is largely painted white; the other half is largely painted black -- but whoever painted this splashed their paint bucket around liberally, the black slide speckled artistically with white and the white side covered in splashes of black, like some sort of monochrome Jackson Pollack painting.

On the white side is a low bench surrounded by roses; an embroidery frame is sitting on it, with a lotus flower mostly embroidered on it. The needle and thread are still sitting on top of the embroidery frame, otherwise unattached to it. The roses around the bench have a lovely scent, old-fashioned but sweet, and are a dark red. Their vines reach towards the centre of the room in some places, and occasionally cross onto the black side.

On the black side is a jungle-gym type structure, a series of pipes welded together apparently just for the experience of climbing on them. Mud liberally streaks them, dried in strikes of handprints and footprints. Wild nature grows around the jungle gym; pruning shears are discarded in the middle of this greenery, which is fresh-scented and refreshing. The vines of this wild nature occasionally reach towards the center of the room, and here and there cross onto the white side.

In the middle of the room, straddling the dividing 'line' between the two sides is a chair. It has also been painted, or at least, it appears the remainder of the two buckets of paint had been splashed on it and left to dry. On the chair is a cloth doll, which is either mid-destruction or mid-mending -- it's hard to tell, because it's been torn down the middle to about mid belly, the two sides of its head and upper body flopping to either side, the lower body still one whole. The right side has yellow yarn hair and a pretty red stitched smile, and the left side has ragged brown yarn hair and a wide black stitched grin.

You can just make out the outline of a square in the ground.

You descend the ladder and once you hit ground, lights come up. You find yourselves in a small suite of two rooms, joined by a stone archway. There are no windows anywhere.

This time, the layout is a little different from before. In this archway, there are still red and blue orbs, but both the red and blue orbs are embedded into the same wall, and into the other wall of the arch there is the faint outline of a door. This is the same 'side' that has the door in each of the rooms, as well. There is something circular engraved onto the faint door, but it's impossible to make out at the moment, and no amount of pushing or prodding will open this door right now.

((As always, you can see everything on this floor from everywhere in it))

This room's floor has been replaced with wet mud; you aren't sinking exactly, not so long as you keep moving, but your footing is unsteady and your feet do sink slowly if you stay in one place too long. Beautiful lotus blossoms fill the room, rising from the mud and blooming.

An inhuman torso is lying on its back in the middle of the mud floor. It is clearly the pure akuma version of Alma, lower half of his torso a tooth-ringed maw, arms distended and too-long, skin cracked, the akuma's star inscribed on his forehead, eyes blank. His arms are tied in a knot, leaving them completely useless, which is preventing him from touching the item he is reaching for, an orb inscribed with the Second Exorcist regenerative symbol, which floats next to him in the mud. His chest has a matching hole where the orb must have come from.

"Please break this for me," he says, turning his face to your group, "so that I may sink."

The back wall in this room has a door on it. In the center of the door is a carving in a circular relief, showing Alma's face as a child, eyes closed as if in the middle of sleep. There are six holes in a circle around the relief; a red orb is already set in the top hole and the other five are empty. Attempts to try the door as it is will find it locked.

This room looks almost identical to Alma's living room that he shares with both Kandas and Lenalee, but with a few key differences. Oh, the layout is (basically) the same, minus any of the doors off it, and plus the second couch already, and the fairy lights climb the trellis as always. There is a table between the two couches which has a bowl of snacks on it: dry potato chips. It looks like it'd be easy to spill them everywhere. A bottle of mayo sits beside it. The room as a whole is full. Full of books, full of knickknacks.

But more noticeably, it is full of ghostly people -- ghostly, very familiar people. The Kandas are sulking together on the couch, while Lenalee scolds one, tugging on his cheek. Persephone is watching, grinning, her arms wrapped around Red's shoulders from behind. Red is reading a book aloud, while Lavi listens in, sprawled back on his hands. The Allens are sitting back to back, each of their bracing hands reached back so they can touch, fingers winding gently together; Nova is talking to his Allen animatedly, his face lit up with excitement. Lucky balances on a couch arm while she stands telling Haruto off, who is nodding along with a look like he's coming up with some particularly good pun. And more people, fainter and harder to make out.

The Alma sitting between the two Kandas only looks superficially like the one you usually see day in and day out. His body type is the same, as are the majority of the markings, but he's human. The left side of his body is covered in badly-healed, knotted scars, and by the time it reaches his face it's bad enough that hair can't grow on that side of his head. The right side makes up for it; he must have nearly six feet of hair, though it's lost its pigment and is prematurely white. Despite that, though, he seems happy, laughing and cuddling the Kandas, an arm around both of them, cheeks flushed.

"I'm hungry," the transparent Alma declares, cheerily. "Someone get me a snack!"

The back wall has a door on it. In the center of the door is a carving in a circular relief, showing 'that woman's' face, her eyes closed as if in the middle of sleep. There are six holes around the relief; a blue orb is already set in the top hole. Attempts to try the door as it is will find it locked.

What would you like to try with the doors?

[Looks to the left. Looks to the right.]

... Again?

What?

[uhhhh]

There was--[Gestures.] You remember those dreams a while back? It was like that, but it wasn't exactly a dream.

[Taking an inventory of what is in both rooms (though he really wishes he wasn't)]

They say third time is a charm.

What happened to the sewer . . .

[Wait, what?]

The sewer?

[NO, NOT AGAIN.

Takes one look around herself, not really focusing on anything at all, and slowly. Covers her face.]

No more...

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Page 1 of 32

Alma's unconscious game

Top Floor

Mingle

Left Room

Right Room

Second Floor Down

Left Room

Right Room

Third Floor Down

Left Room

Right Room

Fourth Floor Down

Left Room

Right Room

Bottom Floor

Left Room

Right Room

Doors

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Re: Mingle

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Re: Mingle

Re: Mingle

Re: Mingle

Re: Mingle