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You decide to resume service at sea and look about for whom to serve. William Bligh is now Captain of the HMS Calcutta, you could serve with him. Sailing Master John Fryer is now serving with the HMS Britannia. Lieutenant John Hallett is with the HMS Penelope. Lieutenant Thomas Haywood is the Lieutenant Commanding of the sloop HMS Swift. Lieutenant Robert Tinkler is aboard the HMS Isis. Sailmaker Lawrence LeBogue is serving aboard the HMS Jason. You can choose who to follow.
> You lieutenant Thomas Haywood
You join Lieutenant Thomas Haywood aboard his sloop the HMS Swift and spend four happy years running letters for the Royal Navy in Asian waters. Your careers come to an end one terrible night when your ship is sunk with all hands in the South China Sea. The sea is an unforgiving mystery.
| 4 |
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| 1 | false |
You decide to resume service at sea and look about for whom to serve. William Bligh is now Captain of the HMS Calcutta, you could serve with him. Sailing Master John Fryer is now serving with the HMS Britannia. Lieutenant John Hallett is with the HMS Penelope. Lieutenant Thomas Haywood is the Lieutenant Commanding of the sloop HMS Swift. Lieutenant Robert Tinkler is aboard the HMS Isis. Sailmaker Lawrence LeBogue is serving aboard the HMS Jason. You can choose who to follow.
> You sailmaker Lawrence LeBogue
You join Sailmaker Lawrence LeBogue and enjoy his steadfast and resolute companionship during three years of voyages around the world aboard the HMS Jason. Your voyages come to an end one terrible day when a poorly tied rope gives way beneath your hands. Both of you plummet to the deck, killed instantly by the fall. Your bodies are tied in hammocks and thrown overboard: just two more dead sailors.
| 3 |
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Following your safe return to England a Court Martial is quickly arranged to try the ten captured mutineers you and Haywood managed to help the crew of the Pandora get back. Bligh and another of your former comrades, a sailor called Lawrence LeBogue, have gone sailing on a second voyage to try and do what Bligh failed to do on his first voyage and deliver breadfruit from Tahiti to the slave plantations in Jamaica.
The Admiralty requests that as many of the eleven remaining loyal members of the Bounty crew that can be found (not counting Bligh and LeBogue) should testify against the ten captured mutineers and you read in newspapers that seven, including Fryer, Cole, Peckover, Purcell and Haywood, have volunteered their services. You wonder whether you should go or not.
> You remain in Portsmouth
You stay away from the trial of your shipmates and read about the proceedings in the newspapers. The detained Loyalists Carpenter’s Mates Thomas McIntosh and Charles Norman, Armourer Joseph Coleman and Seaman Michael Byrne were quickly pardoned. Midshipman Peter Heywood, Boatswain’s Mate James Morrison and Seaman William Muspratt manage to persuade the Judges they took no active part in the mutiny and win a pardon. Seamen Thomas Burkett, Thomas Ellison and John Millward are found guilty and executed.
The following summer Bligh returned from his breadfruit expedition, doubtless disappointed to have missed the trials of the Bounty mutineers. This voyage had been a success but on bringing the breadfruit to Jamaica the slaves refused to eat it, not liking the taste. It seems that the reason behind the voyage of the Bounty, and everything that arose from it, was fundamentally pointless.
| 3 |
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Just thirteen of the twenty loyal crew members cast adrift with Bligh survive to return to England in the spring and summer of 1790, yourself among them. Bligh quickly reports the Mutiny on the Bounty and publishes a book about it, snappily titled A Narrative Of The Mutiny On Board His Majesty’s Ship Bounty And The Subsequent Voyage Of Part Of The Crew In The Ship’s Boat, which you never both to read.
In October Bligh is court martialed for the loss of the Bounty, acquitted and subsequently promoted from Lieutenant to Post Captain. The Admiralty begins making plans to deal with the twenty-five Bounty pirates and decides to send the 24-gun frigate HMS Pandora with 134 men under Captain Edward England to Tahiti to capture all the pirates they can find and bring them back to England for trial. The Admiralty puts out a request for former crew of the Bounty to join the voyage to help identify the pirates and Midshipman Thomas Haywood volunteers for the voyage in exchange for a promotion to Third Lieutenant.
You consider whether to go or not.
> You remain in England
You remain in England while the HMS Pandora sets sail and continue to rest for another year. To your amazement you soon get word that William Bligh is setting sail to Tahiti again to fulfil the mission he failed at last time: gather breadfruit and transport them to Jamaica. This time he is traveling aboard the HMS Providence, a much larger and powerful 10-gun sloop-of-war with a crew of one hundred. Among this crew is Lawrence LeBogue, a sailor who survived the open boat voyage to Coupang and Batavia with you and Bligh.
Bligh sends a letter to you asking if you would like to join him on this voyage.
> You accept
Against your better judgement you agree to sail with Bligh again. To your surprise this voyage goes absolutely smoothly. After leaving England in August of 1791 you reach Tahiti the following April. There you learn that the previous summer the HMS Pandora arrived in Tahiti and captured fourteen of the Bounty mutineers (two having previously been killed in violent altercations). Nine of the mutineers had sailed off aboard the Bounty in the autumn of 1789 but the Pandora left in search of them and Bligh is confident all the Pirates will be tracked down and captured.
You stay in Tahiti only three months, leaving that July and sailing onto Jamaica. You reach Jamaica in January of 1793 with the breadfruit for the plantation slaves where you discover something that makes you laugh. The slaves can’t stand the taste of breadfruit and refuse to eat it. The whole breadfruit expeditions and everything that arose from them were, fundamentally, pointless.
You stay in Jamaica for five months, enjoying the Caribbean and all it has to offer, before sailing onto England, arriving that September. There you learn more news of the Pandora: at the same time you set sail she was wrecked on a reef and many of the crew, including four of the captured pirates, drowned. The remainder struggled back to England last year and after trials three of the mutineers were hanged, of the others four had been the detained loyalists while the last three escaped execution due to extenuating circumstances.
The Admiralty now feels that enough justice has been done. The whereabouts of the Bounty and the nine mutineers who sailed from Tahiti in the autumn of 1789 must, it appears, remain a mystery of the sea.
| 4 |
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| 6 | false |
You remain in England while the HMS Pandora sets sail and continue to rest for another year. To your amazement you soon get word that William Bligh is setting sail to Tahiti again to fulfil the mission he failed at last time: gather breadfruit and transport them to Jamaica. This time he is traveling aboard the HMS Providence, a much larger and powerful 10-gun sloop-of-war with a crew of one hundred. Among this crew is Lawrence LeBogue, a sailor who survived the open boat voyage to Coupang and Batavia with you and Bligh.
Bligh sends a letter to you asking if you would like to join him on this voyage.
> You refuse
You decline Bligh’s unattractive offer to sail with him again and remain in England for another year. The time passes quietly until, quite unexpectedly, the crew of the HMS Pandora return to Portsmouth aboard another ship. It seems that on arrival in Tahiti the previous year the Pandora found and captured fourteen of the mutineers, two having been killed in fights and another nine having sailed off aboard the Bounty previously. While searching for the Bounty and the remaining pirates the Pandora sank off the Great Reef with the loss of many lives, including four of the mutineers. The surviving crew, including the remaining ten mutineers, sailed to Coupang in open boats, much as you did, then to Batavia and from there returned to England.
The Admiralty requests that as many of the eleven remaining loyal members of the Bounty crew that can be found (Bligh and LeBogue are still off on Bligh’s second breadfruit voyage) should testify against the ten captured mutineers and you read in newspapers that seven, including Fryer, Cole, Peckover, Purcell and Haywood, have volunteered their services. You wonder whether you should go or not.
| 4 |
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| 4 | false |
You avoid helping Hall and predictably he becomes sick with malaria from mosquito bites while retrieving the boat and quickly dies. Bligh has also become sick with malaria and just five days after Hall’s death he books passage aboard the Dutch ship Vlydte bound for Portsmouth. By this point hostility against him is so widespread that only two men, his clerk John Samuel and his servant John Smith are willing to travel with him, the remaining thirteen prefer to wait under Fryer's command for another ship.
> You remain on Java waiting for another ship
When Bligh and his two companions depart there remains fourteen of the Loyal Bounty crew in Java under the command of Sailing Master John Fryer. He finally finds a ship willing to take you all home but they require you all to do some labor first, either moving supplies from the island’s interior upriver or by the docks loading them on. A party of four: Midshipman William Elphinstone, Quartermaster Peter Linkletter, Acting Surgeon Thomas Ledward and Seaman Robert Lamb volunteer to move supplies down river while the rest work with Fryer to load the ship.
> You help move the supplies by river
You help the other group move the supplies by river and quickly realize you have made a mistake. All five of you are seriously bitten by mosquitoes and quickly develop malaria. You are the first to die just ten days after getting the illness, the others die either on Batavia or on the ship on the way home. Your companions return to England safely where they join Bligh in reporting the Mutiny on the Bounty.
| 3 |
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When Bligh and his two companions depart there remains fourteen of the Loyal Bounty crew in Java under the command of Sailing Master John Fryer. He finally finds a ship willing to take you all home but they require you all to do some labor first, either moving supplies from the island’s interior upriver or by the docks loading them on. A party of four: Midshipman William Elphinstone, Quartermaster Peter Linkletter, Acting Surgeon Thomas Ledward and Seaman Robert Lamb volunteer to move supplies down river while the rest work with Fryer to load the ship.
> You help load the supplies on the ship
You sensibly stay with the ship while the others contract malaria from mosquito bites obtained while working on the river. Elphinstone and Linkletter die before even leaving Bavaria while Lamb and Ledward succumb on the journey home. Your ship is finally ready to depart on the first day of December and you reach Cape Town in February of 1790. You stay there for one month before sailing on, finally arriving back to England in the summer after two and a half years away. It seems like a lifetime… but your trials are not over yet.
| 3 |
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You know that there is the option to join the guards as they are hiring at the moment, you'll get a basic wage but you have a bunk in the barracks and 3 good meals a day. Or you can approach the guild or large mining companies with your experience and hope for a starter job with one of them.
> You head for the guild as you know your experience could get you a good position if you push it enough.
You approach the miners guild with the hopes that your experience will land you some work fast, but your hope doesn't last long. They are happy enough with your resume and they even have a couple on people on staff who can vouch for your work but there are no new jobs right now and no major movements planned until the spring. They put you on the books and they guarantee you a skilled position by the time the winter snows melt but that isn't going to put food on your plate right now.
> You your on the books now so what harm is there in taking up your friends offer for a few weeks?
Life isn't so bad working at the inn, you put in all the hard work required and your friend, apart from many sarcastic comments and jokes, is a good boss. You have a room and food again and start saving a small amount of coin up in the hopes of buying some new cloths and getting a better paid job eventually. After a few months you think you've saved up enough to make a go of it again in a richer part of town and let you friend know your plans.
You thank him for doing so much for you without really asking much in return as you know the work you did would never normally earn a wage along with room and food but he just waves you off and says the word "friends".
You arrange to finish off the week and move out as soon as you find a new job and new place to live.
That evening you both sit down to share a drink and talk about how to make easy money (your favorite topic since you were 10 and he was 15 working for his dad in this very bar). You glance out the window and comment that its awfully bright out for the time of day when you hear the first screams.
You both rush out to see a fire sweeping through the wooden buildings of the old quarter. you both turn to run but there is a wind coming off the sea pushing the fire on and the old wooden buildings are going up like kindling. In your blind sprint you both almost make it to the walls dividing the city's districts when the flames overtake you and the smoke makes you choke and fall. Its not long before you are engulfed entirely in flames.
| 3 |
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| 7 | false |
You shake your head vehemently. "No. I won't stand by while you all give in to worthless bandits. I'll stay, and fight them off tomorrow."
Eliza's eyes widen. "You're still hurt! They're near fifty strong, if you fight them, you'll die!" She's begging you particularly hard.
"I've fought worse odds. I can handle them." To prove your point, you get out of the bed and stand up, Eliza moving quickly to sit you back down. You shrug her hands off.
"Please, don't. These men will slaughter you."
"I can do it." You shoulder your way past her, to your knapsack. There, you slip into your clothing, and grab your sword. "I'll watch for them. When they come, I'll kill them all." A bloodthirsty grin makes its way onto your face. "Watch." Ignoring any further pleas from Eliza, you carry onward and leave the room. You see that it's a small hut, the only door leading directly outside; it's night, which means you have time to set up.
You go to the largest tree in the center of the village, scaling up it and sitting on a branch. There, you wait. And wait. Then you wait some more.
The sun is high in the sky, the villagers are out in the fields, and your ass is sore by the time the raiders finally do come. The villagers milling about pause in their work as they watch them, all with fear written on their faces. The raider leader, a large and burly man in chainmail, raises his arms up high. "People of this fair village! We have come to accept your surrender. Should you resist, we'll kill all of you. So please, resist."
Isaiah steps forward, head down low. You note the bandage on his cheek, where the cigar was jammed into his face. "Please, don't harm us. We surrender. You are free to take all the supplies we have."
The raider leader lets out a small tsk, shaking his head. "Really? That's all? How disappointing." You're about to jump down and attack him, when...
"I guess we'll just have to kill you anyway." The raider leader pulls out his sword and runs it through Isaiah's chest. Your blood begins to pump viciously. "Kill them all."
That's when you finally jump from the branch. You were too late. Isaiah is dead, because you took too long to just jump down and kill them. You're no hero.
You land on top of the nearest raider, his head crushing beneath the weight of your boot. The others quickly turn their eyes to you and stare in awe. You unsheathe your sword, then start swinging with a primal yell. A few men are taken down by your blade, while the others go on the attack. You bring up your blade occasionally to block attacks, swinging when you see an opening. It's a slaughter for them.
By the time you take down a few dozen, the others begin to retreat. Their leader yells at them, calls them cowards, but stands his ground. "FINE!" He unsheathes a blade of his own. "I'll do it myself!" He goes on the attack, swinging the sword at you. You block it, then swing, but the raider manages to leap out of the way. Damn, if you weren't still recovering, you could have gotten him. Still, it's been a long while since someone managed to dodge one of your attacks. This should be fun.
The two of you continue on like that for a while; he strikes, you block, you strike, he dodges. It's almost like a dance between two experienced partners. This man, he's well trained, and a far better swordsman than you are. There's one difference though, and that is while you lack strength, you make up for it in raw power.
It also helps that you picked the winning side in this battle.
Slowly, the villagers start to gather courage. Before you know it, rocks are being pelted at the raider. He ignores them well enough, but they throw him off enough that he starts to barely evade your attacks. Then, after a longer time, some start pushing forward with pitchforks and other tools in hand. They attack, but the raider attacks back and they retreat before they get killed.
But, their attacks are all you need, and soon, one of your swings eventually makes its way into his hip. He lets out a yell of agony, dropping his blade and falling into a kneel. You don't waste any time letting him have his last words, instead bringing the blade down right onto his head, bisecting it down the middle.
There is silence.
Then, defeaning cheers.
The town is safe. You've done it.
There are no celebrations afterwards however. The bodies of the raiders are burned, Isaiah is brought to his daughter. The others return to their homes, some continue to work. Eliza picks out a plot in the cemetary, and the gravekeeper gets to work. You approach her as she watches. Her father has been set down in a coffin not far from the grave.
Her eyes are red and puffy. She's been crying all day, no doubt. You place a hand on her shoulder. "I'm sorry I couldn't save him," you say.
She turns to look at you, no malice whatsoever on her face. "I know."
"What will you do now? Manage the inn?"
She sighs, shakes her head. "I don't know. My father was all I had."
You nod. "... I'll leave you be."
Then, you walk away.
You have a decision to make. Stay here in this village and live out the rest of your days, or continue onwards into the great unknown.
> You you'll leave. You defended the village, and now nothing is left for you here.
You spend the next few days in the hut where you were told to recover, Eliza visiting you every now and again. She's going to manage the inn, because that's what her father would have wanted. You make it no secret that you'll leave; she looks sad when you say you will, but accepts it nonetheless. You almost feel sorry for her, like you might stay if only to help her, but you know you can't.
A few days later, you've fully recovered, and you pack up your things. As you step onto the open road for the first time in almost a week, it feels liberating. You missed this. But, before you go, you hear someone calling your name. Turning, you see Eliza, waving wildly. She smiles faintly, then calls out, "Be sure to come and visit sometime!"
You let out a laugh, then call back, "I'll be sure to if I'm in the area again!" With that, she heads back to the inn, and you continue onward into the great unknown.
THE END
| 4 |
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You decide not to bother the wandering trader, instead taking a seat at a table by your lonesome. Eventually, the trader gets up and leaves, heading back to his room for the night. You never see him again. After a few more drinks, you stumble out of the dining hall and up the stairs to your room. There, you throw your sword and knapsack to the floor, before passing out on your bed.
In the morning, you awake to a woman's scream. Groggily, you get up, heading to the door so you can see what the hell is going on - grabbing your sword along the way, of course. When you head down the stairs, you see a pair of thugs roughing up the owner, Isaiah. His daughter Eliza watches on, tears streaming from her eyes, as a third thug holds her back. The two harassing Isaiah stick a lit cigar into his face. This time, it's Isaiah who screams.
The thugs laugh at him, sadistic grins on their faces. Your stomach turns. This is disgusting.
Then, one of the thugs turns his head and looks at you. He whistles, the other two looking at you soon after. One with a strange piercing in his nose lets out a laugh. "Oi, you! Quit yer starin' and get outta here, chump." Perhaps you should do something about this, or not. After all, this doesn't involve you.
> You you'll just leave. Doesn't involve you.
You raise your hands, shake your head. "Do what you will. I'm leaving." With those words, you make your way to the door. Eliza shoots a horrified look at you, Isaiah stares at you with pure hatred in his eyes. They must think you're an awful person. You're not; you're just doing what you have to in order to survive.
You exit the inn, leaving the bandits with Isaiah and Eliza. As you leave, you hear another scream, from Isaiah again. Can't be helped. Much as you want to go back in, sword in hand, you don't want to cause more trouble to the town by killing those bandits. All in all, you're doing this for the right reasons... Mostly.
You walk down the road, never returning to the village again.
THE END
| 3 |
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It pains you to watch these people carry on like this. Just wandering, barely any food, scarce shelter, and no chance of ever entering the city they're so desperate to live in. This Count of Sodran guy. You've never heard of him, considering the last time you were here the title was still "mayor". It doesn't matter who he's supposed to be, because you know that he's not doing this city any good.
You walk away from the guard and head to the nearest refugee. "Do you have a leader I can speak to?"
He looks up at you, a dejected expression on his face, and gives a weary sigh. He points to a tent that's larger than the rest. "Hugo, the old man in there, is sort of our leader. He gets us jobs in the area and makes sure everyone is well fed."
You nod. "Thanks for the info." With those words, you head to the tent, intent on pitching your idea to the leader. Opening the tent's flaps and stepping inside, you see that it's decorated scarcely. There's some small bedding in the corner, next to a chair and a small bookshelf. An old man with weathered features and a bushy beard sits in the chair reading a book.
You give a cough to break the silence, and he looks up, smiling at you. "Oh, hello there. New to our fair camp?" His voice carries a thick Kishak accent. Guess you know where he's from now.
"No. I came to speak to you about Sodran, and the Count."
"What about it, stranger?"
"Have you ever thought about how many people you have here? It's at least a legion's worth, damn near a thousand from the looks of it. If you banded together... You could take the city."
Hugo looks a bit shocked by your proposal, but not disapproving of the idea. "... Maybe we could, stranger. But what business do you have with us, or Sodran, or the Count?"
"None at all. I'm just a traveler with too much time on his hands."
Hugo mulls your words over. He stares at you, as if trying to assess your reasons for approaching him with this proposition. Finally, he shrugs, and nods at you. "Very well then. I'll organize the refugees... Did you come here just to plant the idea in my head, or do you want to participate in this... Uprising?"
> You no, you don't think you will. The idea was to give them the push they needed, not participate.
You shake your head. "All I wished to do was push you in the direction of uprising. Now that you're planning on it, my work here is done." Without another word, you exit the tent, leaving Hugo slightly baffled by your bluntness. Taking a look around the camp one last time, you depart, heading off down the road.
A few weeks later you're drinking at a pub in a town with no name. A man rushes in, and brings you all news of an attempted uprising in Sodran. It fell apart rapidly due to a lack of discipline within the troops; for every soldier they killed, they lost ten of their own. What should have reached the Count's manor instead ended two blocks from the city's entrance.
There were no surviving refugees.
The news makes you shrug. No skin off your back. It was their own faults for rushing in without a plan. You finish your drink and order another. When the second one's done, you pay the barkeep, and head out the door. Tomorrow you should be nearing the Kishak border. It should be nice this time of year.
You walk off into the sunset.
THE END
| 3 |
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| 4 | false |
You look longingly at the portal for a moment. It's tempting, oh so tempting, but you know that whatever lies beyond it is a farce. The Count is trying to trick you, offering you something he knows you would want, but you won't take the bait.
You give your companions a stony face. "You're not real." Then, you turn to the Count, and swing at his head.
The sword cleaves through his dandy face, completely knocking off the top half. He stands stone still for a minute, as if his corpse is denying his death, before falling to the ground. The portal closes, and with it, the image of your friends.
Sighing, you place your sword back onto its sheath, and exit the room.
Before you stands the Count, alive and unharmed. He smiles, but instead of a small and enigmatic smirk, it's a large and goofy grin.
"Well done. You resisted my temptation. Not many have ever done that." He walks around you, examining you, while you stand there still reeling from the shock. "I wonder. How did you know that wasn't real?"
After taking a moment, you respond, "You're too much of a bastard to give me what I really wanted. It was a test. One I passed, apparently."
"Yes, yes it was, Kit. I'm impressed that you sussed that out, really. I suppose you're going to want to kill me again?"
Without another word you unsheathe your sword again and swing. He's cut in half this time. Then, the Count approaches from behind. "It's pointless, Kit. A mere mortal like you? You can't kill me. Just hear me out."
"What!?" you bark out.
The Count laughs. "I have a final offer. No tricks this time. I will give you a way out of this country. A key to a nice home on the Cikoni shoreline. The place will be stocked with food, alcohol, water, whatever you need once a week. Other than that? There will be no one who knows you're there."
You frown. "And in exchange?"
"In exchange, you leave Sodran and this Kingdom. Don't even return. You've been enough of a thorn in my side today."
This offer is much more down to earth and, therefore, more believable. Still, you're wary of any tricks.
> You you'll take his offer. You just need to get out of this place.
You have nothing to lose but your life. Maybe you do need to leave this place behind. You don't even know why you're doing this. Some futile attempt to be a hero one last time? Or maybe you're just trying to sate your bloodlust.
Whatever it is, you're tired of fighting. You just want to hide away until the end of your days. Maybe, this offer is what you need. Maybe...
You nod your head. "I accept your offer. I'll leave, and never return."
The Count smiles. "Good. Here." He snaps his fingers, and a key materializes from thin air. "The key to the property." Another snap of his fingers, and a portal opens, revealing a pathway to a nice cabin. "Step through. No tricks this time."
Warily, you accept the key, and step through the portal. Your feet meet sand, and the portal closes behind you as soon as you're all the way through. You stand there a moment, waiting for some sort of attack, or for the scenery to shift into something nightmarish...
... But it never comes.
After a while, you head towards the cabin and unlock it. Stepping inside, you see that it's nicely decorated with rustic furniture and paintings adorning the walls. You head into the kitchen and find that it's stocked with bread and wine, and that's all you really need.
You stay there for days awaiting a painful shift in scenery. Those days turn to weeks, then months, then years, then decades. Nothing happens. Guilt eats you away a bit, you were so close to toppling a tyrannical government, only to back off and accept a bribe. Still, you have to say, it's certainly nice out here.
Years later you finally pass away quietly in your sleep. It's the best a "hero" like you could hope for.
THE END
| 5 |
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| 8 | false |
You take a moment to think about what you want to say. After a moment, you begin to speak, "Look, kid. Adventuring isn't all that fun. It can be brutal. I had to cut down my fair share of men when I was younger, and while I can live with it, not everyone can. Just keep the store running, like your father would've wanted."
The shopkeeper's face falls. He lets out a sigh, but nods. "... Right. I should probably keep doing that. Settle down, find a wife, too. It's just that ever since I took over the store, no one's coming here anymore. I guess I just don't manage it as well."
"What do you mean? Is there any competition or something?"
He nods. "There's another store across town that opened before my father died. People went there, but they came here more often, because they trusted my father. Now that I've taken over, people don't shop here as much, if at all in a few cases. They don't know me as well as they did my father, so I might as well be another stranger to them... If people come here these days, it's because they want to save time rather than walk across town."
You ponder for a moment. Maybe you could get people to start heading to this store more often? You have your fame to use to your advantage, maybe if you recommend it, more people will come. Alternatively, you can just ignore the boy and leave. You've spent too much time in this town already.
> You no, you should just leave now. He can figure this out on his own.
With a shrug and a shake of your head, you reply, "Wish I could help you out, son. I really do. But I've got to get moving on. I've stayed in this city too long already."
He gives you a smile and nods. "Right, right... Sorry that I held you up with all my rambling and complaining. I'll try and sort things out myself. It was nice seeing you again, Sir Kit."
"Yeah, sure was." You turn around and head out the door. For the rest of the day, you mill about Sodran for a while, visiting other places you and your friends visited. A few of the shops have closed down, some of them are under new management. The remainder that haven't changed as much are surprised and pleased to see you.
At the end of the day, you head to an inn near the entrance to the city and sleep. When you awake in the morning, you pack up your things and leave the city behind. Weeks pass as you get further and further away from your former home, then reach a port town by the sea. You pick up transit on a supply ship headed to Cikoni. A few months later, you arrive in the country.
You wander there for a while, unsure what to do. Eventually, you find a small coastal town with few people. There, you take residence in an abandoned shack. To make ends meet, you get a job at a farm, tending to exotic crops you've never seen before. It's strange, but eventually, you think you've got the hang of it.
It's a good life. All in all, better than anything a guy like you could've hoped for.
THE END
| 3 |
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| 5 | false |
You decide to go with the claim that you were too confused by what was happening to act. Somewhat surprisingly this defense works with the Judges: though sentenced to death you, Heywood, Morrison and Muspratt are pardoned for your part in the Mutiny. Burkett, Ellison and Millward are executed by hanging a few months later. You and your companions all feel the most incredible relief at your very narrow escape, Muspratt is so affected by his brush with death he rarely speaks again.
The following year Bligh returns to England after a successful voyage which brought breadfruit from Tahiti to Jamaica, only to discover the slaves there would not eat it. He is furious that you and your companions escaped death and writes an account roundly condemning you all. Withstanding his fury you are one of the eight Bounty mutineers that survived to return to England. Not a day goes by when you do not wonder what happened to Fletcher Christian and his eight companions who vanished that autumn afternoon so long ago aboard the Bounty.
You now have a decision to make: whether you return to the sea or retire to the land. McIntosh, Coleman and Byrne have all already turned their backs on the sea and drifted out of touch while Peter Heywood, James Morrison, Charles Norman and William Muspratt are all intended to resume a life on the ocean’s waves. You need to decide whether you too will retire ashore or return to the sea.
> You return to the sea
You decide to return to the sea and need to decide where you serve. You can join Midshipman Peter Heywood aboard the HMS Queen Charlotte or you could join Boatswain’s Mate James Morrison aboard the HMS Blenheim or you could join Carpenter’s Mate Charles Norman aboard the HMS Duke or you can join Seaman William Muspratt aboard the HMS Bellerophon.
> You join Heywood
You serve with Heywood for twenty-two years on various ships, watching him rise to the rank of Captain. You are with him on the Glorious First of June when the French fleet is defeated off Ushant and in the Invasion of the River Plate in 1806. After a long and distinguished service you both retire from the sea in 1816. Fifteen years later your friend dies in London. By that time you have learned what happened to the Bounty and its missing nine Mutineers, including Fletcher Christian.
In 1808 an American ship, the Topaz, happens upon isolated Pitcairn Island. There the sailors are astonished to discover a thriving Tahitian Community ruled over by one man: John Adams. He is the sole survivor of the nine Mutineers and six Natives who landed on that island and variously killed each other or died of illness leaving Adams patriarch of a thriving community of forty-six people. The Admiralty decides against taking any action.
John Adams, the King of Pitcairn Island, dies in 1829.
| 3 |
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| 6 | false |
You decide to return to the sea and need to decide where you serve. You can join Midshipman Peter Heywood aboard the HMS Queen Charlotte or you could join Boatswain’s Mate James Morrison aboard the HMS Blenheim or you could join Carpenter’s Mate Charles Norman aboard the HMS Duke or you can join Seaman William Muspratt aboard the HMS Bellerophon.
> You join Morrison
You serve with Morrison in the Navy for thirteen years, Morrison rising to the rank of Chief Gunner. Your long and distinguished careers end aboard the Blenheim one terrible winter’s day in the Indian Ocean when the Blenheim and her accompanying ship HMS Java are caught in a storm while under the command of Admiral Thomas Troubridge. Both ships capsize and sink quickly sending nearly nine hundred men to their watery graves.
The sea is a cruel and unforgiving mistress.
| 3 |
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| 2 | false |
You decide to return to the sea and need to decide where you serve. You can join Midshipman Peter Heywood aboard the HMS Queen Charlotte or you could join Boatswain’s Mate James Morrison aboard the HMS Blenheim or you could join Carpenter’s Mate Charles Norman aboard the HMS Duke or you can join Seaman William Muspratt aboard the HMS Bellerophon.
> You join Norman
You join Norman aboard the HMS Duke but your mutual experiences in Tahiti and the trial have weakened you both. Just three months after joining the ship an outbreak of cholera decimates the crew and both of you quickly catch the disease and weakened. You die of the illness just one year after the execution of your companions and are just one of the several anonymous bodies cast into the sea that day.
| 3 |
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| 1 | false |
You decide to return to the sea and need to decide where you serve. You can join Midshipman Peter Heywood aboard the HMS Queen Charlotte or you could join Boatswain’s Mate James Morrison aboard the HMS Blenheim or you could join Carpenter’s Mate Charles Norman aboard the HMS Duke or you can join Seaman William Muspratt aboard the HMS Bellerophon.
> You join Muspratt
You serve with Muspratt aboard the Bellerophon for three years. Your narrow escapes from death have had a great effect on both of you and in all your service you hardly speak a word, just quietly and diligently working together. Cholera spreads through the crew one winter and both of you quickly catch the disease and weaken. You die of the illness just five years after the execution of your companions and are just one of the several anonymous bodies cast into the sea that day.
| 4 |
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| 1 | false |
Three years pass quietly on the island but a few accidents mar the peace.
Soon after you arrive one of the women falls to her death while gathering eggs from the clifftops, soon after Fletcher Christian’s wife gives birth to the first child born on Pitcairn. The year after a second woman dies of an illness. Previously each of the Mutineers had one female partner each while the six Tahitian men had just two women to have sexual relations with. In the summer of 1793 you and the other Mutineers decide to take the two remaining women from the Tahitian men and give them to John Adams and William Brown respectively, the two men whose wives have died.
Trouble erupts when four of the Tahitians take the two women and go to live elsewhere on the island. You and the other Mutineers give one of the remaining Tahitians, a tough character called Menalee a musket and send him off to kill the leader of the rebellious Tahitians, a man called Talaloo. On the first day of August Menalee finds him and shoots him dead. The following day he is sent off again and kills a second man called Oho. The two remaining men return and for a time it looks like all has settled down: Adams and Brown have their wives and the four remaining Tahitian men seem suitably chastised.
One day in September you are in your hut when you hear a few gunshots somewhere nearby. You think nothing of it and a short time later you hear more gunshots. You assume someone is hunting. A short while later you hear loud and excited yells followed by even more gunshots and prolonged shouting. You are now growing concerned and step warily out of your hut. You wonder what to do.
> You head away from the village and up into the hills
You wisely flee up into the hills and are startled to meet a panting William McCoy there, he has run all the way from the village after witnessing the Natives shoot and kill his friend John Mills. Soon after you are joined by a breathless Matthew Quintal, who has likewise escaped the village. He has shocking news to tell you, five of your friends: Fletcher Christian, John Mills, William Brown, Isaac Martin and John Williams are dead. Your remaining two companions, John Adams and Edward Young remain in the village, protected by the Native women.
You and your two unarmed companions remain hiding up in the mountains for two weeks, sometimes receiving messages from your wives still in the village. You learn that Menalee has killed another Native man called Timoa after an argument. Scared of his companions Menalee himself joins you two in the mountains saying he would be safer hiding with you. That night when Menalee falls asleep McCoy picks up his musket and shoots him dead.
Three days later Adams and Young succeed in persuading the Native women they should kill the two remaining Tahitian men Nehow and Tetaheite. Young shoots Nehow in the back of the head while a woman called Susan kills Tetaheite with an axe. Your friends quickly send word to you all that it is safe to come back to the village. There are now five of you men left with ten Native women and a few small children.
Peace returns to the island once more.
> You alcohol
Four years pass by peacefully on the island, you live with the women, begin raising a child and live a good life. William McCoy and Matthew Quintal are more restless characters than you, John Adams and Edward Young and McCoy, who once worked in a brewery in Scotland, spends a long time trying to brew alcohol out of various things. He finally succeeds in creating an incredibly strong alcohol from the ti-root and he and Quintal quickly become addicted to it, despite the fact it seems to trigger hallucinations. Adams and Young refuse to drink any.
> You join in the drinking
You and McCoy soon develop a heavy dependency on the dangerous drink and have many hallucinations. After one particular bout to celebrate the beginning of 1798 you and McCoy decide in your drunken states that you want to swim back to England. You run to the edge of a cliff and plunge down into the sea below. You disappear beneath the waves forever, victims of the terrible alcohol you have created.
| 2 |
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| 5 | false |
Four years pass by peacefully on the island, you live with the women, begin raising a child and live a good life. William McCoy and Matthew Quintal are more restless characters than you, John Adams and Edward Young and McCoy, who once worked in a brewery in Scotland, spends a long time trying to brew alcohol out of various things. He finally succeeds in creating an incredibly strong alcohol from the ti-root and he and Quintal quickly become addicted to it, despite the fact it seems to trigger hallucinations. Adams and Young refuse to drink any.
> You refuse to drink
You refuse to drink and it seems a sensible decision, McCoy throws himself off a cliff in a drunken fit of depression, plummeting to his death. With his friend gone Quintal becomes more depressed also, drinking more and becoming more violent. In one incident he bites the ear off his wife Tevarua when she fails to catch enough fish one day. Tevarua, herself a heavy drinker, imitates McCoy in throwing herself off a cliff to her death.
Deprived of his wife Quintal takes another one and when Adams and Young protest Quintal threatens to kill them both. He is now moody and unpredictable and Adams and Young confer with you in a secret meeting and tell you that the next time Quintal is passed out drunk they intend to kill him with an axe. You consider whether to join them in this plot or warn Quintal of what is happening.
> You join Adams and Young in killing Quintal
That night when Quintal is passed out you, Adams and Young sneak up on him and Adams decapitates him with one swing of the axe. Quintal’s death finally restores peace to the island which lasts another year until Young dies of asthma on Christmas Day of 1800. All that is left now is for you and John Adams to rule over a Pitcairn Island inhabited exclusively by women and children...
> You discovery
The next thirty or so years are peaceful ones for you and Adams, raising your many children and taking care of the island. A ship was spotted out to sea in 1795 and another in 1801 but it is not until February of 1808 that an American ship called the Topaz finally visits the island. You and Adams cautiously meet with the sailors who come ashore and finally learn what has happened on the outside world.
After the Mutiny on the Bounty in 1789 Bligh and his surviving companions made it back to England and reported the Mutiny. A ship called the Pandora was sent to Tahiti where she captured your remaining companions, while searching for you the Pandora sank off the Great Barrier Reef. The survivors eventually made it back to England where some more of your companions were executed. The search for the Bounty and the rest of you was eventually abandoned.
You are nervous of what effect the news that you and Adams (after all, still wanted pirates) are living on Pitcairn Island will have but it is not until 1814 that a pair of Royal Navy ships finally visit the island. Twenty-five years after the Mutiny on the Bounty the men aboard report that the Admiralty has decided to grant you both amnesty for your parts in the Mutiny and allow you to continue living on the island. Relieved you continue your peaceful lives.
Your great friend John Adams dies in 1829 at the age of sixty-one leaving you the sole King of Pitcairn Island.
| 4 |
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| 9 | false |
You refuse to drink and it seems a sensible decision, McCoy throws himself off a cliff in a drunken fit of depression, plummeting to his death. With his friend gone Quintal becomes more depressed also, drinking more and becoming more violent. In one incident he bites the ear off his wife Tevarua when she fails to catch enough fish one day. Tevarua, herself a heavy drinker, imitates McCoy in throwing herself off a cliff to her death.
Deprived of his wife Quintal takes another one and when Adams and Young protest Quintal threatens to kill them both. He is now moody and unpredictable and Adams and Young confer with you in a secret meeting and tell you that the next time Quintal is passed out drunk they intend to kill him with an axe. You consider whether to join them in this plot or warn Quintal of what is happening.
> You 1 January 1799: Pitcairn Island, Pacific Ocean
You warn Quintal of what is happening and both of you are on your guard. It doesn’t take Adams and Young long to learn what you have done and a few nights later they confront both you and Quintal with muskets. Before you can defend yourselves your former friends shoot both of you dead, finally bringing peace to the island. They throw your bodies in the sea for the fish to eat.
| 5 |
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By the beginning of 1789 the crew have had enough of Bligh and his ways.
Charles Churchill, a middle-aged Manchurian and the Master-at-Arms (the man nominally in charge of discipline on the ship) gathers you, the recently flogged Muspratt and another sailor called John Millward, a young and reasonably well-educated fellow, into a secret meeting a short way from the shore party.
“I will tell you plainly boys I don’t care a damn for our Commander,” he whispers. “He deserves nothing better than to be shark bait for all I care. But this place is the closest thing to heaven on each I have ever clapped eyes on in all my years of sailing. I say tonight we take a boat and sneak away, Haywood has the watch with us tonight, he is ever sleeping on duty and besides was up most of last night at cards in the wardroom. I will get us a brace of guns each, we can take the cutter and sail round to Matavai Bay and from there light out to one of the smaller islands. After our shipmates have left on the Bounty we can return and live here forever.”
It is a bold but extremely dangerous plan, desertion can be punished with hanging. Millward and Muspratt quickly agree to it and all three turn their gazes on you. You know if you refuse you must promise to keep silent about the plan.
> You remain aboard the Bounty
You refuse to have anything to do with such a dangerous plan and the deserters swear you to silence. That evening, while Midshipman Thomas Haywood is sleeping over the arms chest Churchill, Millward and Muspratt sneak into the ship’s cutter and desert. That morning Bligh is furious when he discovers the missing men’s absence, suspecting you and Haywood of being involved he orders you both clapped in irons for a week.
Bligh pursues the deserters to Matavai Bay where he learns from Natives that the trio of fugitives traded for a canoe and paddled north in the direction of a small island called Tetaroa. Bligh is set to pursue but the weather turns nasty and for two weeks a storm rages (Bligh has a rage of his own when he discovers the spare sails have rotted into uselessness). Finally, it clears and Bligh sails north to the small island accompanied by dozens of Native canoes.
You and Haywood are still under suspicion so you are not part of the party Bligh leads ashore which succeeds in recapturing the fugitives without trouble. Between the three deserters Bligh sentences them to one hundred and twenty lashes and steers the Bounty back to Toaroa. By now the crew are all seething with quiet discussion about Bligh’s disciplinary methods and a week after the recapture of the fugitives you are chatting ashore about the matter with Isaac Martin, a good-natured American sailor.
While you are talking a Tahitian man wanders over to your boat to have a look, a fairly common occurrence. You both ignore him until the man suddenly grabs an iron hoop that has come loose from a barrel and starts running off. Martin yells at you to get him as you both know Bligh is fond of flogging sailors who let Natives steal things from the ship, no matter how small. You both race after the Native and get close to him but there seems to be no way of stopping him short of violence.
> You crash-tackle the man to the ground
You make a flying leap, manage to grab the man’s legs and bring him down. Martin is on him in a moment and as the man tries to squirm free he punches him in the face. This calms the Native who lies there clutching his broken nose while Martin picks up the iron hoop and returns to the boat. You are both feeling rather good about your successful protection of Bounty property until you hear that familiar, hated, yelp from the trees.
“What do you infernal creatures think you are doing?” Bligh exclaims running towards you.
“Stopping that man stealing our things,” you tell Bligh irritably. “As you ordered.”
“As I ordered you insolent cur?” Bligh exclaims. “I also ordered no violence towards Natives, both of you twenty-four lashes each!”
That evening you are both lashed to trees and whipped by the quartermasters and it is only the intercession of the local Natives, who accept responsibility for the crime, that Bligh reluctantly stops the punishment at nineteen lashes. Regardless, by the time you are cut down you feel completely and utterly exhausted.
| 3 |
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| 12 | false |
You refuse to have anything to do with such a dangerous plan and the deserters swear you to silence. That evening, while Midshipman Thomas Haywood is sleeping over the arms chest Churchill, Millward and Muspratt sneak into the ship’s cutter and desert. That morning Bligh is furious when he discovers the missing men’s absence, suspecting you and Haywood of being involved he orders you both clapped in irons for a week.
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You and Haywood are still under suspicion so you are not part of the party Bligh leads ashore which succeeds in recapturing the fugitives without trouble. Between the three deserters Bligh sentences them to one hundred and twenty lashes and steers the Bounty back to Toaroa. By now the crew are all seething with quiet discussion about Bligh’s disciplinary methods and a week after the recapture of the fugitives you are chatting ashore about the matter with Isaac Martin, a good-natured American sailor.
While you are talking a Tahitian man wanders over to your boat to have a look, a fairly common occurrence. You both ignore him until the man suddenly grabs an iron hoop that has come loose from a barrel and starts running off. Martin yells at you to get him as you both know Bligh is fond of flogging sailors who let Natives steal things from the ship, no matter how small. You both race after the Native and get close to him but there seems to be no way of stopping him short of violence.
> You keep running
You continue to run but Martin springs ahead of you and brings the native down with a fierce punch to the back of the head. Martin forces the hoop from his grip and begins returning it to the boat when you both halt at the sound of a familiar, and despised, yelp from nearby.
“What do you infernal creatures think you are doing?” Bligh exclaims running towards you.
“Stopping that man stealing our things,” Martin tells Bligh irritably. “As you ordered.”
“As I ordered you insolent cur?” Bligh exclaims. “I also ordered no violence towards Natives. You, Martin, twenty-four lashes!”
That evening you watch angrily as Martin is lashed to a tree and whipped by a quartermaster and it is only the intercession of the local Natives, who accept responsibility for the crime, that Bligh reluctantly stops the punishment at nineteen lashes. Regardless, by the time Martin is cut down you nothing but searing anger and hatred towards Bligh.
| 3 |
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Word soon spreads among the crew that Muspratt has found what amounts to a brothel in Toaroa, though actually many of the Native women seem happy to perform sexual services in exchange for gifts. One of your fellow seamen Robert Lamb, who often cuts the meat for the cook, decides to sneak off the next time he is in one of Christian’s work parties and give away his cleaver in the hope of getting two women at the same time. You have a knife and wonder if that would be worth the same.
> You avoid the risk
You remain with Christian’s work party while Lamb heads off and he returns that evening looking utterly exhausted but grinning from ear to ear. His good feeling lasts until he returns to the Bounty to find an angry Bligh waiting for him.
“Impertinent dog!” he screams in Lamb’s face. “You think a cleaver is not as valuable as your disgusting perversions? Quartermaster, twelve at once!”
By now whippings have become so depressingly commonplace that the crew feel nothing but a dull hostility towards Bligh.
| 3 |
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After the death of Surgeon Huggan Bligh orders the Bounty sailed from Matavai Bay to Toaroa, a small bay and village further round the island. The reason Bligh gives is that there are more breadfruit trees there but the crew suspect it is to move them further from the scene of Huggan’s death and the temptations of alcohol and women. If that is the intention it is unsuccessful, there are even more of both at Toaroa.
The women are, if possible, even more free with their affections and breath-takingly beautiful, here and one of your fellow sailors, a friendly, bearded man called William Muspratt, comes up to you one day with an excited whisper as you are moving breadfruit trees as part of a party under Bligh. He tells you he has found some exceptionally affectionate Native women who will apparently trade sex in exchange for odd trinkets such as coins, utensils like cutlery or other odds and ends. He tells you he is going to sneak away now and offers to show you where they may be found.
> You remain at work on the breadfruit trees
You know your place and continue to unearth breadfruit trees, pack them carefully into pots and leave them ready to return to the ship. Bligh soon notices Muspratt’s absence and takes his two quartermasters in search of him. They return with Muspratt a few hours later, the latter having to be helped to walk after having received a dozen lashes for neglect of duty. You are tempted to ask him if it was worth it but fight the urge away.
| 4 |
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| 5 | false |
The Bounty remains anchored in Matavai Bay for the next month while every day Bligh, Christian or Fryer lead a party of men ashore to gather breadfruit trees. You get the impression that the men are working deliberately slowly to prolong their stay on Tahiti, as often as they are able the men contrive to spend time with the Tahitians in their villages. All of the Natives are extremely friendly and the women remarkably so. Christian and, surprisingly, Bligh are fairly relaxed about these interactions between the crew and the women but after a year at sea it would have been very unwise to try to restrain the men.
Bligh inevitably tries however. One day you are a part of a party that is working even more slowly than usual and Bligh is becoming irritable and orders you all to work faster. Repeatedly a sailor called Matthew Thompson, an older and extremely tough man keeps demanding, increasingly more insistently that he be allowed to go into the village. Bligh continues to refuse him. Finally, Thompson has had enough.
“Damn you sir,” he growls. “If you were any sort of officer you would know better than to deny your men what they want.”
There is stunned silence following this outburst.
> You keep quiet
Bligh has gone very pale.
“Damn you Thompson for a mutinous dog,” he growls. “Quartermaster, twelve lashes each!”
The lash is fetched, the blows are landed and another sailor’s back is transformed into ruin. Sullen and muttering the crew return once more to the Bounty.
| 4 |
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You are all relieved when the beautiful tree-lined round island of Tahiti is spotted. Bligh has been getting on everyone’s nerves: he is no longer on speaking terms with Sailing Master Fryer, Surgeon Huggan or the Carpenter William Purcell and he has been grating the nerves of most of the rest of the crew. It is with relief that Tahiti is sighted and within hours hundreds upon hundreds of canoes packed with scantily clad but cheering Tahitian men and women surround the Bounty. The women are a particularly lovely sight.
After a week anchored offshore Bligh sends Christian to lead a party of nine ashore in the ship’s cutter to begin setting up tents and making a camp for the crew to use while they gather the breadfruit. You are part of this group and are left with another sailor called John Adams to guard the boats. Adams is a clever young fellow and the two of you are chatting when you notice a pair of young ladies eying you from behind some nearby huts. When they see you looking they glance at each other and giggle.
Like all Tahitians they are dark skinned and wear nothing above the waist, their full breasts and brown nipples peep out shyly between the strands of their long black hair. They seem to have more than a casual interest in you and Adams nudges you in the side and points at the women grinning. He suggests you go over, introduce yourselves and keep the young ladies company for a while.
> You think of England and continue guarding the boats
Steadfast, British and sex-less to the last you resist the temptation of attractive women and stolidly remain in the boats while Adams goes off to try and get laid. You are still in the boat when Christian and his party return. After hearing where Adams is from you Christian laughs and calls him out of the hut, he emerges hastily buckling up his trousers. With many a light-hearted jibe you all return to the Bounty.
Bligh is not so amused, when you return he curses Adams for a scoundrel and orders him lashed twelve times for interfering with the Natives. Immediately the previously cheerful mood evaporates and you all stand around stone-faced as Adams is mercilessly whipped .You help him back to his hammock that evening and all around you can hear angry mutterings about Bligh.
| 3 |
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The door here opens to one of the storage arms of the station. It seems as likely a place as any to find cleaning supplies and so you slip through the door, carefully stepping over the severed limb and making your way down the dimly lit hall. It becomes obvious this is more of an area for discarded equipment waiting for repair or recycling and you pass numerous discarded fuel and energy tanks as well as other assorted clutter before you come to a cleaning machine parked in an alcove. The energy cell is low but even if it only does the job halfway it’ll save you a lot of time.
As you’re pulling it free, there’s a clatter of metal and you see an energy canister was wedged behind it and is now rolling across the floor.
> You go finish cleaning
This section of the station is literally a junk heap. You roll the machine past the clutter without giving the canister a second thought and then climb on and activate it, cleaning bristles and bubbles going to work on the drying blood.
Matti’s arm you toss into a non-functioning incinerator and hope the power situation is sorted out before it gets a chance to rot.
The cleaning machine holds out after all. You finish just as it dies and shove it into an out of the way corner before going to seek out the others.
| 4 |
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You scoff at the idea of leaving your home. The king says he'll send men your way if you don't respond? Oh, please. You can fend off any pansies he sends your way. Though you're getting up there in years, you can still fight with the strength of a hundred soldiers.
With that, you resolve to continue on as you've been doing. For the next few days, you don't do much; you get your bread and wine from Bertrand, drink until you black out, then do it again. It continues this way until, finally, a week has passed since the letter.
You've almost forgotten about it when Bertrand enters your room at around midday. He's already brought you your bread and wine, so you're not sure why he'd come here. His expression is a mask of worry and fear. "Explain yourself," you say, and Bertrand nods with a gulp.
"The king has sent his men here, sir. They're here to take you away to Castle Oren." Bertrand is looking very afraid.
"Send them away."
"What?"
"I said send them away. I don't wish to entertain them."
"But sir..."
> You fine. If Bertrand is so hesitant, you'll do it yourself.
"Fine," you grunt. "I'll do it myself." Of course Bertrand can't get them out of here. They're the king's men with an order to get you, not some con man looking to sell you cheap wares at an inflated price. He's never had to do this to someone who has good reason to come in, and it scares him. You understand, somewhat.
For the first time in ages, you leave the master bedroom and walk the halls of your manor, Bertrand following after you. It's been well kept by your servants, for the odd occasion that someone comes to visit. The fine paintings adorning the walls are flawless and their frames clean of dust, the walls are painted a regal blue, and lanterns hung on the ceiling keep the place well lit.
You walk out to the courtyard to greet the king's men. A lone tree sits in the center of the courtyard on a circular patch of grass, surrounded by a cobblestone path. A series of bushes encompass the manor itself, giving the entire courtyard a reserved, tidy appearance. The knights are sitting in wait and look up when you approach. One stands and walks over to you.
He removes his helmet, revealing a youthful yet stern face. His sandy blond hair is cut short, and his green eyes burn a hole into your own grey ones. He gives you a salute, then speaks, "Good day, Sir Kit. I am Miller, of the Gold Hawk Knights. We've come here to take you with us to Castle Oren."
> You shake your head. "Afraid I won't oblige your request. Now leave."
Miller scowls at your calm request for him to leave. "I'm afraid I can't, Sir Kit. Please, come with us. I won't ask again." You can feel your anger flaring up, and for a moment you wish you had brought your sword to cut this bastard down.
"You listen to me, Miller," you growl, hissing his name out like it's an insult. "I want to live in peace. You take your Gold Hawk Knights and get out of here. Leave me be."
He shakes his head. "I was hoping it wouldn't come to this. Knights, apprehend Sir Kit." The two knights flanking Miller approach you, attempting to grab you. On instinct, you fight back, delivering a hook to one's face and causing him to stumble back towards Miller. The other quickly draws his sword and swings, but you duck under it and disarm him. With the longsword in hand, you quickly stab him in the chest.
Blood pours out of his wound as you push him to the ground. You blink, suddenly realizing what you just did. Miller and the other knight look at you and their dying comrade in shock. Miller and his ally draw their own swords, pointing them at you. "You're under arrest, murderer! Surrender or our blades will taste your blood!"
> You didn't mean to do that... You can't believe... You surrender willingly. You deserve whatever fate awaits.
You're in as much shock as the two knights. Quickly, you drop the sword and raise your hands. Miller approaches you, rage written on his face, and hits you in the face with the pommel of his sword. Instantly, darkness takes you. The last thing you hear before you slip into unconsciousness is Miller telling his comrade, "Tie him up and get him in the wagon. Take Edward's corpse."
When you wake up, you're face down on a cold stone floor. Pushing yourself up, you look around and see Miller not far from you. Seperating the two of you is a row of iron bars. "Miller," you say. "What is the meaning of this?"
He sighs, pulling up a wooden chair and sitting down. "You should be thankful you're not on the chopping block. The king's respect for you is the only reason you're still alive. If you were any other man, your head would roll for killing a knight."
You don't respond. The weight of what you did hits you full force in that moment. Because of it, you're going to rot here.
"There will be no trial. If anything, you being in this cell is to protect you. The Gold Hawk Knights are furious." Miller stands, pushing the chair back. "Farewell, Kit."
Miller heads to the door and shuts it, leaving you to your isolation. It's the last time you ever see him.
For the next few years, your only human contact is when a guard comes in to deliver you some food. At first it's a nice break in the monotony of being alone in your cell, but soon it becomes part of the routine. Even when you try to strike up a conversation, the guard ignores you and just gives you your food. It's a lonely life.
Eventually, the meals decrease in frequency, until one day you realize that it's been a week since you had food. You begin to yell, hoping to grab a guard's attention and get some food, but no one comes. Another week passes and you find yourself barely clinging onto what little life you have. The lack of food has been effecting you greatly, and the only water you can get is from drops of rain that come through your little window.
When three weeks pass, you finally die. A guard comes the next day to remove your corpse. He drops it into a wagon of similar corpses, where you're sent off to be incinerated. A criminal such as yourself doesn't deserve a proper burial anyhow.
THE END
| 3 |
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Miller scowls at your calm request for him to leave. "I'm afraid I can't, Sir Kit. Please, come with us. I won't ask again." You can feel your anger flaring up, and for a moment you wish you had brought your sword to cut this bastard down.
"You listen to me, Miller," you growl, hissing his name out like it's an insult. "I want to live in peace. You take your Gold Hawk Knights and get out of here. Leave me be."
He shakes his head. "I was hoping it wouldn't come to this. Knights, apprehend Sir Kit." The two knights flanking Miller approach you, attempting to grab you. On instinct, you fight back, delivering a hook to one's face and causing him to stumble back towards Miller. The other quickly draws his sword and swings, but you duck under it and disarm him. With the longsword in hand, you quickly stab him in the chest.
Blood pours out of his wound as you push him to the ground. You blink, suddenly realizing what you just did. Miller and the other knight look at you and their dying comrade in shock. Miller and his ally draw their own swords, pointing them at you. "You're under arrest, murderer! Surrender or our blades will taste your blood!"
> You can't go down like this. You'll tell them to leave again, and if that doesn't work, you'll attack.
No. You can't let them take you like this. Standing there with bloody sword raised, you speak slowly, "I don't want to have to kill you both. Leave now and never return." There's a tense moment for a while as you stare at the two of them and they stare back. They're too scared to make the first move, and you don't want to make it. The standoff lasts for a moment longer, then...
"Oh screw this!" Miller's ally yells, before rushing at you with a shout of rage. He swings his sword, which you easily deflect, then duck down for a sweeping slash that cuts through his abdomen. Clutching his wound, he collapses to the ground, writhing and moaning in agony as he slowly bleeds out. Miller stays back, examining you.
"Your buddy won't die with that wound. It'll take a few days for him to bleed out all the way. Take him and go, if you know what's good for you," you say, giving Miller his last warning. Miller looks down at his companion, as though considering it. Then he shifts his gaze back to you, looking more furious than ever.
"I won't let you walk free you bastard." With those words, he advances towards you. The two of you clash blades for a while, and whenever one of you tries to go for an opening the other blocks or parries. You're not as good with longswords as Miller is, specializing more in greatswords and their overwhelming force, but you're too stubborn to let him beat you.
In the end, that stubbornness is what grants you victory. While Miller has been tiring, you've only been attacking more and more ferociously. Eventually, his defense slips, and you slide your blade right into his chest. His face morphs into a mask of pure shock as he drops his sword. He stares at you in fear, which quickly shifts to anger. He pushes himself forward, forcing the sword deeper into his body, while reaching out for your neck. His hands squeeze against your throat, at first tightly, then slowly weakening in strength until they fall limp.
As his eyes close, you pull the blade out of him and let his corpse fall to the floor. His ally is still on the ground begging for death. You grant him the pleasure, holding his head down and sliding the blade into the base of his skull. He twitches slightly, then goes limp. You stand and consider what you just did.
You could just as easily burn the bodies and head back inside, but there's no way the king would allow this. He could send more knights, perhaps far more than you could handle. On the other hand, there's the option to use this to spark a rebellion among the people. Though the king is far from tyrannical, there's enough dissent from the long-lasting war against the Empire of Kishak for the common people to attempt an uprising. With how much the people love you for your deeds, they'd join you in a rebellion in a heartbeat.
> You can't count on the goodwill you have built up. You're going to just wait this out.
You can't be bothered to try something that stupid. The king has well trained knights and soldiers under his command; if you put together a rebellion, it would be destroyed as quickly as you build it up. Instead of deciding to go on a pointless endeavor such as that, you begin to gather the bodies up in a pile. You cover them in dried sticks and leaves, then start a fire. As soon as it's gotten large enough to engulf the bodies, you return into your home. The servants watch as you head to your room in mingled awe and terror, unsure of how to act around you. You head into your room, lay in bed and sleep the rest of the day away.
In the morning Bertrand comes with your bread and wine, looking a bit more cautious after what happened yesterday. You take it, send him out of the room, and spend the rest of the day eating and drinking as you always have. The next day, Bertrand comes in the morning with the bread and wine, which you take and spend the rest of the day eating and drinking. It continues on for weeks without interruption, until one day, something changes.
You wake in the early morning hours to a yell. Your head is pounding and your stomach is killing you, but you push through and get out of bed. Stumbling out of your room, you see a man slumped against the wall: Bertrand. "Bertrand!" you shout, running to him. As you get closer, however, you notice the blood trailing down his neck. It flows freely from a fierce red slash across his throat. Bertrand is dead.
You look around, wondering who in the hell did this to your servant, when you feel a sharp pain in your arm. Looking, you find that a crossbow bolt has embedded itself into your bicep. "W-what the hell!?" you choke out. Another bolt flies true, hitting your thigh and causing you to fall to a kneel. Footsteps approach from your left, and you turn your head to look. What you see is a man, dressed in black. He approaches you, pulling out a dagger.
"Who are you?" you ask.
He simply sticks the dagger to your throat and cuts. As you fall to the ground, vision darkening and lungs filling with blood, he speaks: "The king sends his regards."
Then, all is silent.
THE END
| 4 |
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No. You can't let them take you like this. Standing there with bloody sword raised, you speak slowly, "I don't want to have to kill you both. Leave now and never return." There's a tense moment for a while as you stare at the two of them and they stare back. They're too scared to make the first move, and you don't want to make it. The standoff lasts for a moment longer, then...
"Oh screw this!" Miller's ally yells, before rushing at you with a shout of rage. He swings his sword, which you easily deflect, then duck down for a sweeping slash that cuts through his abdomen. Clutching his wound, he collapses to the ground, writhing and moaning in agony as he slowly bleeds out. Miller stays back, examining you.
"Your buddy won't die with that wound. It'll take a few days for him to bleed out all the way. Take him and go, if you know what's good for you," you say, giving Miller his last warning. Miller looks down at his companion, as though considering it. Then he shifts his gaze back to you, looking more furious than ever.
"I won't let you walk free you bastard." With those words, he advances towards you. The two of you clash blades for a while, and whenever one of you tries to go for an opening the other blocks or parries. You're not as good with longswords as Miller is, specializing more in greatswords and their overwhelming force, but you're too stubborn to let him beat you.
In the end, that stubbornness is what grants you victory. While Miller has been tiring, you've only been attacking more and more ferociously. Eventually, his defense slips, and you slide your blade right into his chest. His face morphs into a mask of pure shock as he drops his sword. He stares at you in fear, which quickly shifts to anger. He pushes himself forward, forcing the sword deeper into his body, while reaching out for your neck. His hands squeeze against your throat, at first tightly, then slowly weakening in strength until they fall limp.
As his eyes close, you pull the blade out of him and let his corpse fall to the floor. His ally is still on the ground begging for death. You grant him the pleasure, holding his head down and sliding the blade into the base of his skull. He twitches slightly, then goes limp. You stand and consider what you just did.
You could just as easily burn the bodies and head back inside, but there's no way the king would allow this. He could send more knights, perhaps far more than you could handle. On the other hand, there's the option to use this to spark a rebellion among the people. Though the king is far from tyrannical, there's enough dissent from the long-lasting war against the Empire of Kishak for the common people to attempt an uprising. With how much the people love you for your deeds, they'd join you in a rebellion in a heartbeat.
> You damn waiting in fear. You'll tear this kingdom down, and the people will help you do it.
You look at the corpses you just created and release a heaving sigh. There's not much else you can do now. The king will have your head for this either way, so you figure you might as well take more than a handful of knights down with you. This is the dumbest thing you've done in a while, and you've done a lot of dumb things in your life.
You load the corpses up into the carriage they came in, then hurry back into your house to retrieve your sword and get into some more fitting traveler's clothes. As you stride through the halls of your home, the servants watch you warily, as if fearing that they may meet your blade next. You ignore them, ascending the stairs to your master bedroom and begin loading up. Once you're all done, you flip your cloak over your shoulder and walk out the door. The nearest town, a large village by the name of Everseed, is about half an hour away by horseback.
Taking a seat in the carriage, you kick the horses in gear and ride to the town. The ride down the country road is quiet and peaceful, the best that can be expected. You know that it will be the last time for a while you get to relax and unwind.
When you arrive in town, you stop the carriage in the most active place in town; in this case, the market. The people watch you curiously as you step off the carriage and approach a fountain in the center of the market. There, you raise your voice and speak, "Everyone! My name is Sir Kit of Droburg, the man who slayed the vile wizard that plagued our lands twenty years ago!" This gets all eyes on you as you approach the back of the cart again.
"And these," you pull the cover of the cart off, revealing the three dead knights to the people. They gasp in shock, some moving to weapons in case they need to attack you. "These are three knights that the king sent to kill me. The lengths this man has gone to, trying to kill a hero such as myself. What has our kingdom come to?" You're bending the truth, a lot, but these people are eating it up. The villagers that went for weapons are looking furious, while the others left unarmed grab for makeshift weapons as well.
"That bastard king! He's been taxing us so hard we barely have enough to pay for food!" one villager pipes up from the crowd.
"He drafted my son into the war and he died! My boy was only 15!" a woman cries out.
"He's been doin' nothin' but tearin' us down and buildin' himself up!" a farmer yells from the back.
"And now, my friends, he's trying to kill the last true hero in this kingdom. A man like this must be stopped, once and for all. For the true Kingdom of Oren, we must eliminate this tyrant!" you shout, and the crowd answers with cheers and battle cries. Now, you have an army. You're not sure how this will end, but wherever it leads, the kingdom will be changed forever...
THE END
| 5 |
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Miller nods, then takes the lead. He begins heading southeast instead of the east you were expecting. "If keep heading this way, then go around the forest and keep heading east, we'll get to Ornislov faster. I know a way in."
You quirk an eyebrow. "You know a way in?"
Miller nods solemnly. "I was sent there on a covert mission a few months. It's how we found out about the supply cache. Most of my team died, but I managed to escape." You nod at Miller's response, and continue following him. The sun is high in the sky, and on the horizon you can see Kishak troops marching. They wouldn't be able to spot you from here, but still, Miller gets down low. You and Iris follow his lead.
"Keep low, stick to the tall grass. If we're quiet enough, they won't stop us," Miller warns, then continues walking slowly. The process continues on, and after what feels like hours but must have been only ten minutes or so, the Kishak soldiers are long gone. Your team releases a collective sigh of relief and stands, continuing on at a much faster pace...
... That is, until a bolt flies into your shoulder. You shout a curse in pain, then dive straight for the ground. Your companions follow suit. "Are you okay, Sir Kit?" Miller hisses urgently. You wave him off, then grip the bolt. You pull it out, slowly to ensure you don't tear any muscles, and let out a sigh of relief when it's out.
Iris scowls. "Great thinking, Miller. You've just gotten us all killed."
"Damn it, keep quiet!" Miller hisses.
"Both of you, shut up and let me think," you say. There's two options here: you can either run for the woods, exposing yourselves for a bit before getting to adequate cover, or you can sneak forward and attempt to take out the archer. Either way, you're putting great risk on you and your team.
> You go for the archer, take him out before he alerts the others.
"It's just a lone sniper out there, waiting. If there were more, they'd be firing volleys of bolts and arrows right at us. I'm going to sneak ahead and try to take that archer down. You two stay here and keep your heads down." Your companions nod slowly, still unsure of the plan. You poke your head up a bit, trying to spot him. There he is, about forty yards away. You duck back down and begin crawling towards him.
It takes several agonizing minutes, occasionally stopping to poke your head up and hoping he won't spot you, but soon enough you're within charging distance of the archer. You slowly unhook your blade from its chain on your back, taking a deep breath to ready yourself, before popping up and running straight for him. He manages to get a bolt off, hitting you in the thigh, but you carry on despite the wound and swing your sword at him. His head rolls on the ground not long after, and you pant.
You remove the bolt like you did the other one and look around. No one here yet. You shout back to your companions, "Let's get going!" Slowly, they rise from the grass. Miller takes the lead again, and the rest of the march goes on without incident.
After a few hours of walking, you arrive at Ornislov just as the sun is starting to set. The city is more like a giant fortress, surrounded by walls on all sides with no obvious entry points aside from the gates. Miller leads you around the city walls, to a sewer grate. "This is how we got in last time. Come on, get in." You and Iris crawl through the grate as Miller holds it open. He climbs in after you, shutting it.
Iris summons a fireball in her hand, keeping it held out to illuminate the area. The sewer tunnel stretches on for what seems like miles. There's a few latters every couple of yards, likely leading up into the city streets. Miller takes the lead again, walking past several ladders until he stops in front of one. "This is it. Above is a warehouse, where all the supplies are kept. There's guards around, so we'll have to take them out."
You and Iris nod. "Let's go."
The three of you begin climbing the ladder.
> You continue
Once you get above ground, you pause to examine the warehouse. It's bland and non-descript, made of wood and flanked on both sides by identical warehouses. Miller points out the one you're staring at. "This is it. There's guards inside. Come on, I know a way inside." You and Iris follow him to the side of the warehouse. There, a single wooden door stands, which Miller cracks open slowly. No one in sight, at least for now.
The three of you step inside, crouching down low. There's guards patrolling the warehouse, hands on swords at their hips. You hear two of them having a conversation in Kishak. You whisper, "Can I get a translation?"
Iris nods.
"What are those two saying?" You point out the two guards.
She listens in for a moment, then smiles slowly. "They're talking about how boring warehouse duty is. Let's spice it up a bit." She conjures up an smoky green orb in your hand. You wonder what it is for a moment, before she shoots it straight at the two guards. A faint cloud comes into existence around them, and as they breathe it in their eyes sag. After a few moments, the two collapse, sleeping. Iris nods. "Come on."
The three of you continue on like that, you and Miller keeping an eye out for guards while Iris takes them out quickly and quietly. Before long, the guards are all down, and the warehouse is yours for the taking. You approach the nearest supply box and open it, finding a large supply of food. You open the next, and find hundreds of crossbows. The next, hundreds of swords. It goes on and on, each crate containing an ungodly amount of supplies.
Nodding, you motion to Iris. "Light it up." The mage nods, before summoning up a fireball and shooting it right at the nearest crate. Then, she summons another and fires it, then another, and another. Before long, the building is starting to go up in flames. It seems like your work here is done, and you ready to leave... Before you hear a shout in Kishak.
A guard.
He runs straight for the front door and bolts before you can do anything, and the three of you share a look of shock. Then, Miller and Iris bolt, you trailing behind as fast as you can. The three of you get out of the warehouse and begin to open up the hatch leading into the sewers, while you hear a sharp horn go off in the distance. This is bad.
Miller cracks open the hatch and motions for the two of you to get in. As you do, Iris fires off a few more fireballs at the other warehouses. "Just in case!" she says, before joining you on the ladder. Miller gets in right away, closes the hatch above you all.
As you three enter the sewers and then quickly leave it, the sounds of marching footsteps greet your ears. The Kishak soldiers are moving fast. They must have sent some to investigate the warehouses, while the others were sent to find you on the outside. The three of you take off into the night as fast as you can, keeping an eye out for soldiers.
You get about a mile away when you notice the squadron of soldiers following after you. They must be one hundred men in all, all bolting straight for you. "We've got company!" you shout to your companions, who quickly notice the threat and pick up the pace. The three of you continue on, then notice an old log cabin on the side of the road. Acting quickly, the three of you duck in there.
Miller slams the door shut and immediately moves a nearby bookshelf in front of it. "That won't hold for long," you warn.
"I know. It's more for my piece of mind," he replies, slumping down into a sitting position.
"What are we going to do?" Iris asks. You and Miller don't give her an answer. "We accomplished our mission, but now we're behind enemy lines with no chance of rescue. Are we just supposed to sit back and die?"
You pat her on the shoulder, and nod. "Afraid so. We did the right thing. They'll make martyrs out of us, probably."
Miller sighs. "So we're just supposed to give in and die, is that it?"
Iris is fuming. "No. We're not going to just give in and die. We're going to go out there and give them hell before we do."
"No use. There's one hundred of them and three of us. We'd be slaughtered." Miller places his face in his hands.
"Better to take at least a few of them with us before they kill us, right?" Iris asks. "What do you think, Kit?"
> You say "You're right. Let's give those Kishak bastards hell."
Iris smiles. "I guess you are the real deal."
Despite yourself, you crack a smile too. "Yeah. I guess I am."
Miller sighs, then stands up. He unsheathes his sword, and sighs. "Well then, let's see to it that these Kishak sons of bitches meet their maker." He moves the bookshelf from the door, and looks to the two of you as he grips the door handle. "You two ready?"
"Ready as I'll ever be," Iris says.
You nod. "Let's get this over with."
He pushes the door open, and the three of you move out as quickly as you can. There's at least one hundred Kishak soldiers in front of you, all armed with swords and axes and pikes and whatever else they have. The three of you stand side by side, readying your weapons; Miller takes a battle stance with his sword, Iris prepares an arc of electricity, and you grip your blade with both hands.
The Kishak soldiers charge, and the three of you meet them head on.
THE END
| 4 |
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Once you get above ground, you pause to examine the warehouse. It's bland and non-descript, made of wood and flanked on both sides by identical warehouses. Miller points out the one you're staring at. "This is it. There's guards inside. Come on, I know a way inside." You and Iris follow him to the side of the warehouse. There, a single wooden door stands, which Miller cracks open slowly. No one in sight, at least for now.
The three of you step inside, crouching down low. There's guards patrolling the warehouse, hands on swords at their hips. You hear two of them having a conversation in Kishak. You whisper, "Can I get a translation?"
Iris nods.
"What are those two saying?" You point out the two guards.
She listens in for a moment, then smiles slowly. "They're talking about how boring warehouse duty is. Let's spice it up a bit." She conjures up an smoky green orb in your hand. You wonder what it is for a moment, before she shoots it straight at the two guards. A faint cloud comes into existence around them, and as they breathe it in their eyes sag. After a few moments, the two collapse, sleeping. Iris nods. "Come on."
The three of you continue on like that, you and Miller keeping an eye out for guards while Iris takes them out quickly and quietly. Before long, the guards are all down, and the warehouse is yours for the taking. You approach the nearest supply box and open it, finding a large supply of food. You open the next, and find hundreds of crossbows. The next, hundreds of swords. It goes on and on, each crate containing an ungodly amount of supplies.
Nodding, you motion to Iris. "Light it up." The mage nods, before summoning up a fireball and shooting it right at the nearest crate. Then, she summons another and fires it, then another, and another. Before long, the building is starting to go up in flames. It seems like your work here is done, and you ready to leave... Before you hear a shout in Kishak.
A guard.
He runs straight for the front door and bolts before you can do anything, and the three of you share a look of shock. Then, Miller and Iris bolt, you trailing behind as fast as you can. The three of you get out of the warehouse and begin to open up the hatch leading into the sewers, while you hear a sharp horn go off in the distance. This is bad.
Miller cracks open the hatch and motions for the two of you to get in. As you do, Iris fires off a few more fireballs at the other warehouses. "Just in case!" she says, before joining you on the ladder. Miller gets in right away, closes the hatch above you all.
As you three enter the sewers and then quickly leave it, the sounds of marching footsteps greet your ears. The Kishak soldiers are moving fast. They must have sent some to investigate the warehouses, while the others were sent to find you on the outside. The three of you take off into the night as fast as you can, keeping an eye out for soldiers.
You get about a mile away when you notice the squadron of soldiers following after you. They must be one hundred men in all, all bolting straight for you. "We've got company!" you shout to your companions, who quickly notice the threat and pick up the pace. The three of you continue on, then notice an old log cabin on the side of the road. Acting quickly, the three of you duck in there.
Miller slams the door shut and immediately moves a nearby bookshelf in front of it. "That won't hold for long," you warn.
"I know. It's more for my piece of mind," he replies, slumping down into a sitting position.
"What are we going to do?" Iris asks. You and Miller don't give her an answer. "We accomplished our mission, but now we're behind enemy lines with no chance of rescue. Are we just supposed to sit back and die?"
You pat her on the shoulder, and nod. "Afraid so. We did the right thing. They'll make martyrs out of us, probably."
Miller sighs. "So we're just supposed to give in and die, is that it?"
Iris is fuming. "No. We're not going to just give in and die. We're going to go out there and give them hell before we do."
"No use. There's one hundred of them and three of us. We'd be slaughtered." Miller places his face in his hands.
"Better to take at least a few of them with us before they kill us, right?" Iris asks. "What do you think, Kit?"
> You say "It's pointless. Let's just... Wait it out."
Iris wrinkles her nose at you. "Wait it out? The hell do you mean, wait it out? Wait until they burst in here and separate our heads from our bodies?"
You sigh, sitting down on the floor. "Something like that. We're going to die, might as well accept it."
She shakes her head. "The man I heard about would have gone out and faced them head on, even if it meant death."
"Sorry to disappoint you, kid. But I'm not that man anymore." You pull your knapsack off your back and reach into it, finding one of the bottles of wine you had Bertrand stash for you. You sigh, then pop it open and take a swig. You hold the bottle out. "Either of you want a sip?"
Miller grabs it first and chugs the bottle greedily. After a few moments, Iris snatches it out of his hands and takes a drink of her own, as if accepting defeat. She sits down on the floor with you and Miller, and the three of you pass the bottle around and drink for a while.
There's the pounding on the door as the Kishak soldiers try to get in. The bookshelf rattles with every hit, but it stands its ground. The three of you continue drinking. After all, you have all the time in the world.
THE END
| 4 |
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Miller nods. "Alright. We don't know of any outposts in those woods, so we should be able to get through undetected." With those words, the three of you continue on to the woods. You walk through the fields without incidence, and get to the edge of the forest in record time.
The three of you march through it, keeping an eye out. You're there for about an hour, continuing to march on, when you hear voices up ahead. The three of you stop in your tracks and get down low, listening. The voices are speaking Kishak. You turn to face your companions. "Can I get a translation?" you ask.
Iris nods, and listens to the voices. Her face goes pale. "... They're talking about how boring it is to be in an outpost in the middle of the woods." You and Miller share a look of surprise, then turn to face the direction of the voices again. A new outpost, one that the military didn't know about.
Miller pipes up. "We go around it as slowly and carefully as we can."
Iris shakes her head. "It can't be that many. We go in there and light them up."
Looks like it's up to you to decide what to do.
> You we'll take them down like Iris suggested.
You shake your head at Miller. "Remember, this'll make it easier for the military to come through the area. If we're quick and efficient, we'll barely miss any time."
Iris nods, smiling in approval that you agreed with her.
Miller sighs, shaking his head. "I don't like it."
"Too bad. That's what we're doing. Now come on, let's go." You get up, unhooking your sword from your back, and march towards the voices. As you break through the brush and step into view of the outpost, you're surprised to find a well-defended fort instead of a dingy wooden watchtower like you were expecting. A dozen or so Kishak wander about, waiting for an attack.
"Shi-" Iris' curse is cut off when a bolt flies into her throat, and she collapses to the ground. She twitches for a moment, then goes still. A horn blows, and the soldiers all turn to you. Miller unsheathes his sword and charges at the nearest Kishak soldier, impaling him. He doesn't last long either, however, as a bolt flies true and hits him in the chest, followed by another. For added measure, a soldier runs up and runs his spear through Miller's gut. The knight falls to the ground, dead.
The remaining soldiers turn to you. You sigh, shaking your head. Dumb move. Shouldn't have done it. Now you're dead for sure.
You grin, however. Doesn't mean you won't go down without a fight.
You charge forward with a primal yell, meeting the soldiers head on.
THE END
| 3 |
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When you wake up, it's in a bed. You're covered in bandages, and though your body aches it seems your wounds are gone. There must be a healer here. In the bed to your right, a person stirs, and you shift to get a good look at them. There lays Bertrand, flipping through a leather bound book. "I see you still live, sir," he says, dog-earing the page he's on and closing the book.
"Sorry to disappoint you," you chuckle.
A small laugh escapes Bertrand's lips. "No, sir. I'm happy to see you're still among us." He pauses. "We got here yesterday afternoon, sir. The healer set to work immediately. You'll be okay if you rest for a few days."
"That so? Where's Caroline?"
"She's still here, sir. Likely in her chambers. She said she'd come visit later."
"Alright." You sigh and close your eyes. You made it to Elkstern Keep, and you and Bertrand are still relatively intact.
You consider what you should do now. You'll be extremely late for your meeting at Castle Oren. The King may not like it, but if he truly needed you, he'd excuse it. Still, something about this... Felt better than fighting some meaningless war you have no investment in. Maybe...
You must have been thinking for much longer than you thought you were, as Caroline steps into the infirmary and immediately gives Bertrand a bear hug. Your servant pats her slowly on the back, and she breaks away after a moment to move onto you. The hug is so tight, it makes the aching turn into a sharp sting, and you hiss in pain. Caroline withdraws.
"I'm so glad you two are alright. Thank you for all that you've done for me, I can't repay you," she says.
You wave your hand and shake your hand. "No, no, everything is fine. Just letting us rest here a few days is good enough."
She gives a worried look. "Are you sure? I can give you supplies, or money, or..."
"Nothing. It's fine. Thanks for visiting us."
Caroline nods. The three of you talk for a while, though it's mostly her thanking you profusely and continually offering help, which you turn down. After about an hour, a man comes in and informs her that she's needed in the entrance hall. Caroline sighs, but nods at the man.
Before she leaves, she turns to you and Bertrand one last time. "I know I've been saying it a lot, but thank you from the bottom of my heart. If you hadn't saved me and escorted me here, I don't know what I'd have done." With those words, she departs.
After she leaves, you once again wonder what you'll do now.
> You your plans remain the same. You'll head straight for Castle Oren. You're sure the King needs you, and won't mind.
Yes. The King summoned you, and you won't ignore those summons. Being a wandering hero is appealing, but this way you can help the kingdom in a much more substantial way. Winning a war? You'd save the kingdom, and drive the Kishak menace away from it. You'd be a hero yet again.
You voice your thoughts to Bertrand. "Our plan remains the same: we'll head straight for Castle Oren when we recover. Will I have you at my side, Bertrand."
Bertrand nods. "Of course, sir. We'll get there and finish this war."
You nod your head a few times. "Okay. Okay."
For now, you have a few days to rest. When you're done, you'll leave Elkstern Keep, and head straight for Castle Oren. After all, you have a duty, and you must see it through.
The sun is high in the sky. It's a new beginning.
THE END
| 3 |
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You shake your head slightly, before shrugging. There's not much you do in your day to day life, and at the very least, this is something. "Bertrand," you say. "Get to packing my things. I'm going to Castle Oren at dawn." Your servant seems very surprised by this, but immediately leaves the room to get a knapsack for you. He comes back not long after and begins packing the essentials: changes of clothes, a tinderbox from your dresser, and lantern oil, along with some of the bread and wine he came to give you.
He nods to you, taking the knapsack. "I'll pack it in your carriage, sir. In the morning we'll go." With those words, he leaves the room. You sigh, before popping open the remaining bottle of wine and beginning your daily routine. By nightfall, not a drop remains of the wine nor a crumb of the bread. The weight of the situation hangs heavily on you: tomorrow, you're going to leave your home for the first time in years to fight a war that isn't yours to fight for a man who will never care for you. It's enough to make you reconsider your plans. Almost.
At least, this is something you can use your talents for. Twenty years and your blade hasn't tasted a drop of blood. You feel as though you're getting rusty, that your time is long past, and it would be best to turn this offer down... No. You need to prove to yourself that you can still do this. Age means nothing for a person with your raw strength and skill, and you could kill four times as many men as a soldier half your age and twice your size. You were always told that you had a warrior's heart. Soon, you shall reaffirm it once and for all.
When the sun dawns on the horizon, you get up and get dressed into practical clothing. Then, you grab your old sword, giving it an experimental swing at the air. It's large, only a bit shorter than your tall frame, and almost as wide as your torso. A greatsword that no man but you could wield. After hooking it onto your back, you head down to where your carriage is stored. Bertrand is already there, waiting for you in the driver's seat. "I packed some of my things as well, sir. Hope you don't mind me coming with you," he says. You nod, getting into the passengers seat. He spurs the horses into action with the reigns, and the two of you begin the ride to Castle Oren.
You pass through a town on the way there and pass by several small hamlets. The sun is high in the sky when you see something on the horizon: a group of men sifting through a broken down carriage on the road. The men are dressed in fur and hides, and have chipped and dented axes at their sides. Highwaymen, bandits who prey on anyone daring to go from one place to another by the main roads. It makes you sick just looking at them. Then, you hear a woman's scream from the carriage. A noble lady in fine clothing runs from the carriage, screaming all the while. The highwaymen chase after her, abandoning the carriage.
You grip your blade...
> You ... Then let it go. Best to get out of here while they're gone.
Your hand falls from your sword. "Let's go, Bertrand. We've got time while they're distracted to beat a hasty retreat."
"But sir," Bertrand begins to interrupt before you silence him by holding up your hand.
"I don't want to hear it. Get going."
Hesitantly, Bertrand nods and spurs the horses on. They walk past the overturned carriage and continue down the road. The woman's screams penetrate the otherwise silent countryside, until they are finally silenced.
Nightfall comes sooner than you'd like. You're forced to set up camp for the night along the road, but you can see Castle Oren in the distance. You'll be there not long after you get up in the morning.
Your blade rests in your lap as you clean it with a rag and some water. Bertrand stirs the fire with a stick, then frowns at you. "We should have helped her."
"Hrm," you hum.
"The man I agreed to work for would have saved her. What the hell even happened to you?"
You sigh, shaking your head. "I don't know. I'm just not that kind of man anymore." You pause, and trace a finger along the flat of your blade. "... Just an old dog called in to do the king's dirty work. Nothing more, nothing less. There's no more heroes in this world Bertrand, and the sooner you accept that, the sooner life gets easier."
"You don't know what you're talking about."
A mirthless chuckle escapes your lips. "Maybe I don't. Can you blame me, though? I'm just a bitter old drunk. It'd be best if you just ignored what I say."
Bertrand sighs. "... I should be turning in now. I suggest you do too." He gets up from the fire and lays down on a blanket he has sprawled out, closing his eyes and drifting off to sleep in moments. You watch his sleeping form for a moment, before setting your sword down and laying on your own blanket. Though you toss and turn for a bit, exhaustion takes over and you fall into your first dreamless sleep in years.
In the morning, you and Bertrand pack your things up and begin the last stretch to the Castle.
| 4 |
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You must be mad to think of doing this. Quickly, you leap over the gap and onto the separated part of the doomed ship, which is quickly plummeting towards earth at a deadly speed. Above you, the remaining half remains airborne. It quickly disappears from sight as you fall.
It’s impossible to keep your footing on the deck when the ship is falling so fast; parts of it are beginning to break up again from the constant acceleration. Gritting your teeth, you force yourself to crawl over to where Mother Ghared is lying. Her eyes are open, and she seems faintly aware of what is going on around here, but she is otherwise unhurt. If anything, she just looks exhausted.
When she sees you, her eyes widen and she grabs your wrist. “Fljght, Fljght,” she whispers to you urgently, pressing a crumpled scroll into the palm of your hand. The words she speak are not in your language. “Fljght, fljght…”
Her eyes close as she falls back into unconsciousness. You stare at her in confusion as the ship continues to fall. The scroll she gave you is covered with strange symbols and runes that are incomprehensible to you. Somehow, you think she was trying to give you to a clue.
> You say "Fljght, Fljght"
You utter the incantation, and the scroll glows faintly before disintegrating into nothing. The glow itself has not faded, however, but has spread to the soles of your feet. With a start, you realise that you are no longer falling, and that your body feels as light as a feather. You are no longer in any danger of plummeting to your death.
Moving forward, you are surprised to find that you can now move in any direction – up and down, too – at will. You have as much freedom as a bird, and can fly through to the air as you see fit. The activated scroll has bestowed this power on you, and you may now fly from here to your heart’s content.
Thankfully, the same ability has also been granted to Mother Ghared. Though unconscious, she remains floating in the air before you. You take hold of her body, which you find to weigh scarcely anything at all, and bring her with you as you fly through the open skies. Perhaps she just needs some rest after what she’s been through.
With Mother Ghared in tow, you turn to fly from here as far away as you can. You discover that you can only fly at a fixed speed, so there is no way to accelerate. Fear washes over you at the thought that this ability may actually be temporary. What if you could lose this power at any given moment?
With this in mind, you travel away from the ruins of the airship far above you, out into the vast vast open skies. You don’t know where you’re going, exactly, but anywhere is better than this.
| 3 |
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You decide to remain on deck and see what help you can lend to the crew members. Mother Ghared disappears down below, and from here you watch as the helmsmen frantically try to turn the airship around as quickly as possible. Before long, the ship is so close to the storm that pieces of wood are being shredded away from the outside of the hull. You grip the railing tightly, fearing the worst…
“Brbcf ypvrsflf!” the captain yells.
There is a horrendous tearing of wood and metal as the storm makes impact. Fearfully, you throw yourself clear from the balcony – and just in time, too. A bolt of lightning flashes down onto the crystal lens where you were standing, shattering it into a million pieces. The crewmen cry out as a violent gust of wind slams into the ship, powerful enough to tear the railings apart. Rain and sleet pours down to accompany it.
Desperately, you search for somewhere to take cover from the storm. This was a bad idea. You shouldn’t have stayed up on deck in this kind of climate. There’s nothing you can do here –
Another bolt of lightning flashes down and rips straight through the mast.
You turn to see the entire weight of the mast fall towards the deck. To your horror, you see that the captain is right in its path, just seconds away from being crushed. None of the mercenaries are close enough to help her. No one is close enough to help…but you.
Even if you did help her, it’s unlikely that you would be able to get out of the way in time.
> You turn away and worry about yourself instead
You can’t risk saving her. Who knows if you will succeed? Guiltily, you turn your eyes away from the scene. You don’t want to see the results of your inaction. The opportunity has now passed, and may never be seized again. She isn’t going to make it in time –
“Fprcf!”
A shrill cry erupts from the other end of the airship. The mast shudders as an invisible force slams to it, snapping it further at an awkward angle. You watch in amazement as the fractured beam crashes through the deck barely a metre away from the captain. She’s alive.
You turn your head to see Mother Ghared frozen in position, her hands outstretched towards the fallen mast. Your knowledge of her abilities is still limited, but you understand that she has saved the captain’s life. The captain waste no time moving away from the fallen mast and is already on her feet, struggling to defend herself from another group of mutants.
Before you can move, you see Mother Ghared slump to the ground. She seems exhausted by the effort of stopping the heavy mast, and the energy drain is too much for her. You start to force yourself to your feet, knowing that time is of the essence. She needs help, and fast.
That’s when you hear the violent splintering sound below you.
Fearing the worst, you see that the heavy mast has in fact torn straight through the centre of the airship. It is in no condition to fly. The vessel has already been damaged by the attacks of the mutants, and you can only watch in horror as more and more cracks appear, joining together as one…
The airship breaks apart down the middle.
You see the mutants react with surprise as they start to plummet along with their half of the ship. Surprisingly enough, they can no longer fly. You’re not quite sure why, but you have a feeling that their wings from before were only temporary. In addition...part of the airship somehow remains airborne. You’re not in a position to question the laws of aerodynamics right now, but you need to act fast.
Your half of the airship is currently airborne and in no danger of falling – or so you hope. The captain is next to you, slumped in a heap. The other half of the ship is about to plummet downwards, and you realise that Mother Ghared is still on that side. She’s unconscious and has no idea of what has happened.
You have a split second to decide whether to cross over the gap to Mother Ghared, or stay here with the captain. You have no idea what condition either person is in.
| 3 |
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| 6 | false |
You step into the vehicle and strap yourself in, before realising that you have no idea how to physically turn it on. With a frown, you examine the numerous buttons and dials on the dashboard in front of you. One of these must start up the machine – if it works at all, that is. After about a minute, you manage to narrow down the correct button to just two of them. They are all labelled, but naturally the words are written in Common Tongue.
> You push the button which says "Sflf-dfstrvct"
As soon as you push the button, the entire dashboard lights up. Alarmed, you freeze in your seat as the controls start to glow faintly. A few seconds later, the vehicle explodes in a great ball of fire, taking you with it! You have initiated the self-destruct sequence set into the craft, installed by the Auvahrs for use in dire emergencies, and your death is instantaneous. You perish here upon the airship, trying to escape.
| 2 |
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| 3 | false |
Judging your chances of survival on board this ship to be diminishing by the second, you start to search the surrounding cabins for a way out of here. There has to be something that you can use. Airships are fitted with emergency safety measures for use in the worst-case scenario, such as equipment failure or a particularly vicious storm. You're not on the surface, after all. You’re not in one of those strange human ships which take people over water, able to throw yourself overboard and swim away from all the pandemonium…
Inside one of the cabins near the back, you find a disused aerial vehicle which is fitted with an engine of some kind. At least, you assume that it’s an engine. It looks quite similar to some of the devices you saw in the captain’s room. Buttons and dials cover the inside of the vehicle, and there is only space for one person to drive it.
The craft is covered with dust and cobwebs and looks as if it hasn’t been used in some time. You have no idea if it still works. If you’re really unlucky, it might even blow up in your face.
From far above, you can hear the sound of the storm growing louder and louder. You can no longer hear the voices of the crew members from before. A chill goes up your spine as you realise that the airship is being dragged deeper and deeper into the storm.
> You decide not to risk it and continue searching for another way out
You continue searching through the other cabins for any alternative methods of escape. The ship is shaking rather violently by now. Within minutes, cracks begin to appear in the walls and ceiling, until you realise that the damage to the vessel is more serious than you thought. Frantically, you dash into one of the last cabins to find an escape route as quickly as possible.
However, you are far too late. The opportunity has already passed. The ceiling of the cabin caves in from above, and your body is crushed under tons of falling rubble. You do not live to see what happens next, but the rest of the airship is destroyed minutes afterwards. You perish here on the airship, in the midst of a violent lightning storm.
| 3 |
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| 8 | false |
The wind grows stronger as you follow the corridor around the corner, towards a set of stairs which lead to the upper level. You’re not quite sure where you are, exactly. You can only assume that you have been taken to somebody’s home, perhaps another faraway settlement, but you must surely be a long way from home. At least, where your home used to be. It doesn’t explain the presence of the mutant in your room, however, so you can only hope that your hosts are not unpleasant company.
You climb up the stairs to find yourself...staring out across open skies. Clouds can be seen on the horizon, clustered in a never-ending sea of blue which surrounds you for miles and miles as far as the eye can see…
This is no ordinary residence. This is no house. You’re not even on ground level. You are standing on the upper deck of a fully functioning airship! No wonder the wind was so strong up here: you must be hundreds of metres above sea level...
You’ve never been on an airship before, but you have seen plenty of them at the island where you lived all your life. Some sky races use these aerial vessels to transport goods and cargo between islands, others simply for transporting passengers. However, they can be slow and unwieldy to operate, and they are not especially durable; a fierce lightning storm can easily put an airship out of commission. For this reason, airships are usually designed for short voyages with a minimum of passengers.
It’s like something out of a dream. A real airship. You don’t know where this one is headed, but it has to be somewhere better than where you came from. Where do you want to go, after all? No, the bigger question is – what happened on the surface of the land far below? What prompted your island to fall in the first place?
As you gaze out thoughtfully across the open skies, there are footsteps behind you. You turn to see a young woman with long red hair cascading across her shoulders. There is a hint of recognition in her green eyes as she looks at you.
“Vnwprthy,” she says in a clear voice. “Ypv brf thf Vnwprthy.” She beckons to you with one finger. “Cpmf. Cpmf wjth mf. Thf Cbptbjn wbnts tp spfbk tp ypv.”
Without another word, she turns on her heel and walks across the deck into another section of the airship. You do not understand her words, but it seems that she wants you to follow her.
> You decide not to and go back downstairs
You decide not to trust the woman and retreat back down the stairs. She is already several steps ahead and does not notice that you are not following her until you are well out of sight. Quickly, you decide to return to the corridor below and head to the right, where you heard the voices before.
> You proceed
You follow the corridor for some time as the voices become more distinct. They sound rather jovial and cheerful in nature; foreign, too, because they are speaking in a language that you do not understand. It should not be surprising at that, since there are many different varieties of races which populate the skies, each of their own language and culture. Having never left the relative comfort of your own island before, you are unacquainted with the language of any other species.
At the end of the corridor is a large room filled with uniformed men and what you assume to be soldiers. Mercenaries, more likely, from their get-up. Large groups of them are gathered around each table, drinking from mugs and chattering to one another at great volume. Is this some kind of bar, perhaps? It seems a little rough and rowdy for your taste.
You look around and see that the place is not in good condition. Furthermore, none of the men in this room are human. Of course, neither are you, but you do not recognise their kind. Their skin colour varies from pearly-white to a pale purple, and many of them appear to sport partial reptilian features. Are these people really your rescuers? From the way they are looking at you now, you are inclined to doubt it…
“Vnwprthy!” one man shouts, as you step into the room. His gaze is fixed upon you steadily. “Jt’s thf Vnwprthy! Shf’s vp bt lbst.”
Self-conscious about the sudden attention, you automatically tense yourself, but the mercenaries here do not seem necessarily aggressive. All of them are armed to the teeth with various edged weapons and crossbows which are slung across their backs, but even so they appear to be regarding you with genuine curiosity. Perhaps they are just as fascinated by your unique appearance as you are by theirs. Low murmuring echoes through the room, with a few of the man shaking their heads at you. You do not understand the significance of such a gesture.
“Vnwprthy,” one of the men says, standing up and walking towards you. He smiles at you warmly and makes a gesture you do not recognise. “Brf ypv wfll? Ypv’vf bffn bslffp fpr b lpng tjmf. Hpw dp ypv fffl? Brf ypv rfstfd?”
The brief silence which follows his words suggests that he has asked you a question, and is expecting an answer from you. Unfortunately, you haven’t the faintest idea what he just said.
> You nod your head in answer
The mercenary seems satisfied with your answer, and you sense that you have given the correct response. “Thbt's gppd,” he says in a gracious tone of voice. “Npt mbny svrvjvfd thf fbll. Ypv wfrf pnf pf thf lvcky pnfs.” The man sits down on one of the chairs and calls over to one of his companions. “Hfy, thf Cbptbjn wjll wbnt tp sff hfr npw thbt shf's bwpkfn. Spmfpnf tbkf thf Vnwprthy tp sff hfr, vndfrstbnd?”
“Svrf thjng,” the other man ventures, getting up and moving towards you. “Cpmf pn,” he says to you, beckoning you over with one finger. “Thjs shpvldn't tbkf tpp ljng.”
You do not understand his words, but it seems that he wants you to follow him.
> You follow the mercenary
You follow the mercenary to the far end of the corridor, towards where a set of stairs lead to the upper level, feeling the wind grow stronger as you do so. Soon enough, you find yourself standing once more upon the upper deck of the airship. It still feels quite surreal, staring out into open skies at such a great height, and you don't think you'll ever get used to this.
Your guide watches you curiously as you gaze over the deck of the airship, before motioning you forward. Resignedly, you follow him into another part of the airship, through twists and turns in the corridors. As you walk, you pass several more uniformed men who watch you with interest. Only now do you realise that they must be part of the ship's crew.
After a few minutes, the mercenary leads you to a brass door which lies at the top of a final flight of stairs. There is a sign on top of the door, but you lack the knowledge to read the symbols and runes displayed there.
"Gp jn," he says, gesturing for you to enter. "Thf cbptbjn bwbjts ypv."
At his request, you push open the door and enter the room beyond.
| 3 |
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| 7 | false |
You follow the corridor for some time as the voices become more distinct. They sound rather jovial and cheerful in nature; foreign, too, because they are speaking in a language that you do not understand. It should not be surprising at that, since there are many different varieties of races which populate the skies, each of their own language and culture. Having never left the relative comfort of your own island before, you are unacquainted with the language of any other species.
At the end of the corridor is a large room filled with uniformed men and what you assume to be soldiers. Mercenaries, more likely, from their get-up. Large groups of them are gathered around each table, drinking from mugs and chattering to one another at great volume. Is this some kind of bar, perhaps? It seems a little rough and rowdy for your taste.
You look around and see that the place is not in good condition. Furthermore, none of the men in this room are human. Of course, neither are you, but you do not recognise their kind. Their skin colour varies from pearly-white to a pale purple, and many of them appear to sport partial reptilian features. Are these people really your rescuers? From the way they are looking at you now, you are inclined to doubt it…
“Vnwprthy!” one man shouts, as you step into the room. His gaze is fixed upon you steadily. “Jt’s thf Vnwprthy! Shf’s vp bt lbst.”
Self-conscious about the sudden attention, you automatically tense yourself, but the mercenaries here do not seem necessarily aggressive. All of them are armed to the teeth with various edged weapons and crossbows which are slung across their backs, but even so they appear to be regarding you with genuine curiosity. Perhaps they are just as fascinated by your unique appearance as you are by theirs. Low murmuring echoes through the room, with a few of the man shaking their heads at you. You do not understand the significance of such a gesture.
“Vnwprthy,” one of the men says, standing up and walking towards you. He smiles at you warmly and makes a gesture you do not recognise. “Brf ypv wfll? Ypv’vf bffn bslffp fpr b lpng tjmf. Hpw dp ypv fffl? Brf ypv rfstfd?”
The brief silence which follows his words suggests that he has asked you a question, and is expecting an answer from you. Unfortunately, you haven’t the faintest idea what he just said.
> You shake your head
“Ypv'rf npt?” The man seems to be confused by your answer. “Np. Np, ypv're...” He scratches his head and gives you a funny look. “Pf cpvrsf! Vnwprthy. Lvngvbgf...laaa….lan...” For some reason, the mercenary seems to be having a hard time speaking, as if he can't pronounce the word right. “Lan...lang-goo...”
“Lan-goo-rah?” another one tries.
He shakes his head, gesturing to you. “Lan...lan-grah. Lan-gredge. Language. Lan-gruage bah...bah-wee-uh...barrier...” The man steps forward in your direction, an inquisitive look in his eyes. “We...we do not...we do not speak your...” He winces again. “Your lan-grah...”
“Language,” you say helpfully, getting the gist. You try nodding.
He smiles and nods too. “Yfs.”
“Yes,” you say.
“Yfs,” he says, nodding more enthusiastically. Then he shakes his head emphatically. “Np.”
“No,” you say.
“Fxbctly.” A nod of the head. “Yfs.” Shake of the head. “Np.” He sighs. “Js hbrd...is hard.”
“Hard,” you agree.
He sits down on one of the chairs and calls over to one of his companions. “Hfy, thf Cbptbjn wjll wbnt tp sff hfr npw thbt shf's bwpkfn. Spmfpnf tbkf thf Vnwprthy tp sff hfr, vndfrstbnd?”
“Svrf thjng,” one of the other men ventures, getting up and moving towards you. “Cpmf pn,” he says to you, beckoning you over with one finger. “Thjs shpvldn't tbkf tpp ljng.”
You have a very limiting understanding of his words, but it seems that he wants you to follow him.
| 5 |
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| 2 | false |
You crouch against the inside of the wall, covering your head as the deafening noise continues all around you. Earlier on, you could hear the cries of the other people as they sought shelter within their fragile little huts, but now there is nothing to be heard but the endless howling of the wind. A chill seeps into your bones, but that is the least of your worries right now. This wall will not hold for long. You may as well be stranded in the middle of the ocean, clinging to a broken piece of driftwood as the storm rages on.
As if eager to give you confirmation of this, small cracks begin to spread out across the wall where you are hiding. The entire island is shaking, causing the cracks to widen.
> You try to move to a different location
It would be foolishness to remain here. As quickly as you can, you crawl out of cover into the open. Almost immediately, you are buffeted by the force of the wind on your back. You dig your fingernails into the ground at your feet, refusing to let go. You will not die here, not so easily, like a candle sputtering out in the midst of total darkness. You are determined to survive.
Behind you, the wall of your house collapses and crumbles apart. There’s no going back now. The wind is now fiercer than ever.
> You call out to your neighbours for aid
You raise your voice and let out a desperate cry for help, but your voice is drowned out by the sound of the wind. Your plea goes unheard. In any case, your neighbours and friends have their own problems to deal with. During a crisis of this nature, the act of helping another soul would compromise the safety of another. Nobody is going to help you. This is the reality that you're faced with.
The wind suddenly picks up speed, and you are thrown off your feet, clumps of grass falling uselessly from your bleeding fingers. You scream as you are flung from the surface of the island, spiralling towards certain death far below…
| 3 |
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| 4 | false |
It would be foolishness to remain here. As quickly as you can, you crawl out of cover into the open. Almost immediately, you are buffeted by the force of the wind on your back. You dig your fingernails into the ground at your feet, refusing to let go. You will not die here, not so easily, like a candle sputtering out in the midst of total darkness. You are determined to survive.
Behind you, the wall of your house collapses and crumbles apart. There’s no going back now. The wind is now fiercer than ever.
> You inch your way towards one of the few houses still standing
Gritting your teeth, you pull yourself along the ground at a painfully slow pace towards one of the more sturdy-looking houses. You can already see several faces huddled inside the walls, frightened and helpless at what is going on outside. As you draw nearer to them, you see panic rise in their eyes, as if your mere presence is compromising their chances of survival. Perhaps they are simply too scared to move.
The door, miraculously, appears to be secure. You duck your head down as the wind buffets against your back, and succeed in making it to the threshold. It is then that you discover that the door has been locked and bolted from the inside. The people inside remain huddled together, staring out at you with empty expressions.
“Let me in,” you cry out to them in desperation, banging on the door with your fists. Your fingers are bleeding from clutching the ground, and you dare not raise your head too far up. “Please. Let me inside!”
Nobody unlocks the door. Nobody dares to move.
You are still frantically banging on the door when the wind picks up and throws you off your feet. The people's stares burn into you as you are flung from the surface of the island, screaming as you spiral towards certain death far below…
| 4 |
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| 4 | false |
It would be foolishness to remain here. As quickly as you can, you crawl out of cover into the open. Almost immediately, you are buffeted by the force of the wind on your back. You dig your fingernails into the ground at your feet, refusing to let go. You will not die here, not so easily, like a candle sputtering out in the midst of total darkness. You are determined to survive.
Behind you, the wall of your house collapses and crumbles apart. There’s no going back now. The wind is now fiercer than ever.
> You maintain your current position and hold on for dear life
You feel that there is no use in moving from here. The slightest motion might give the wind enough leeway to knock you off balance. You grit your teeth and hold on tight, aware that you are exposed and vulnerable, but hopeful that you will be able to get through this. You may be alone, but your strength of will has seen you through many trials in life. You can do this...
The wind suddenly picks up speed, and you are thrown off your feet, clumps of grass falling uselessly from your bleeding fingers. You scream as you are flung from the surface of the island, spiralling towards certain death far below…
| 5 |
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| 3 | false |
You claw your way towards what used to be your personal residence. The roof has been torn off, the front door is hanging on by mere threads, and the interior has been devastated beyond recovery. Only pieces of shattered wood remain here now. The wind picks up, and for a second you almost lose your grip, but you somehow manage to make it inside. What remains of the wall here serves as a temporary shelter.
Even so, the feeling in your gut tells you that the entire island is picking up more speed than before. The chains will not be repaired: it is not going to stop. Your chances of survival are slim at best.
> You pick up some of the fragments of wood
You scramble across the floor to where your bed used to be. It is now nothing but rubble, broken into multiple pieces by the pressure of the fall. Most of the fragments are too small to be of any use, but you do find a few sturdy pieces which could be used as a weapon. A weapon? Why on earth are you thinking of weapons now? The realisation comes in an instant: the world really has gone wrong. The crumbling of your island may not be the only danger which awaits you. You need to get your hands on everything you can get.
The wind is now powerful enough to shred this little piece of wood into pieces, so you hastily tuck it inside your thin tunic for safekeeping. Perhaps it will come in useful later, assuming you have a future to look forward to...
At your back, small cracks start to spread out across the walls of your house. The entire island is shaking, causing the cracks to widen.
| 3 |
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| 4 | false |
You turn Northward up the road thinking that the rumors of a new mine are too good an opportunity to pass up, and hey, even if it's false you don't mind spending an extra week or two on the road.
You pull out some of your dried meat and start eating as you walk, thinking you should probably set some traps and snares when you make camp that night to stock up some fresh meat. You spend an uneventful day walking North and see no other travellers. An hour or so before dusk you start looking for a place to camp. You can camp on the roadside, head into the trees to the east for cover while you sleep or walk an hour or so to the foothills west and hope for a spring or cave.
> You might be a traverler along the road, camp beside it
You decide it would be best to just set up camp beside the road and see if any other travelers come along during the night. You go a few feet east of the road to a nice looking oak tree and start setting up a camp for yourself as theres still some time till night sets. You Set a few snares further into the trees and build a nice fire for yourself then settle down for a while.
Just as darkness arrives you hear some noise in the trees, one of your snares has caught a hare! Gathering in the other snares you quickly skin and prepare the hare then set it cooking on the fire- its worth staying up an hour or two for some good hot food.
The hare eventually starts to cook nicely and you've just pulled its leg off to start eating when you hear some noise coming up the road. You keep eating as you watch a large group coming towards you. They slow as they reach the fire and the one in the lead walks over to you.
"Hail stranger, mind if we set up camp with you for the night? I could even trade some ale for a little of that hare if your interested?"
You haven't had ale in a week or two now so you readily agree and watch the group start to build a couple more fires and set out their sleeping rolls. The man who had talked to you first sends a few of the group off North up the road then joins you by the fire with a small ale keg under one arm.
| 3 |
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| 12 | false |
You have just run your sword through the last of the 6 bandits when you hear a cry for help. You jog over to a large chest. Upon opening it, you find a beautiful girl locked in with a rather large amount of gold.
"You must be Amelia" you say, as you boldly lift her from the chest.
"I am!" she replies breathlessly, "You must have gotten my hidden message! Thank you for rescuing me. The way you challenged all the bandits to a sword fight at the same time was so very heroic!" You lean closer....
You wake up and take in your surroundings, holding a tiny hope that one of your dreams had been reality and not just fantasy. But all you see is your one room hut, mostly empty and worn down.
"Last night it was a dream about escaping from an amazing tower of riddles ruled by an evil magician and today it's a hero rescuing princesses... I must be losing it." You get out of bed, get dressed and take stock. One bed, a desk with your open pack and a chair by the cooking fire are all the furniture in the room. You slowly re-fill your pack with your cloths and hunting gear. The fire went out during the night leaving the room dank and chilled so, realizing you had no reason left to hang around, you stuff your sleeping sheet into you pack, sling it over your shoulders and head to the door.
Looking out you see the dirt streets and hastily built shacks of the work camp you've been living in the past few months.
Do you:
> You put off speaking to your boss and go back in for a last look around
Your boss will be busy shouting orders at people anyway so talking to him can wait.
You turn back inside and have a good look around for anything you might have missed. You rummage under the bed and behind the desk, you even check the pot over the fire for any scraps.
But all you find is an old, completely rotted apple under the bed which smells so bad you chuck it into the coal embers as soon as you pick it up.
Sighing, you admit that your already carrying everything you own and head out the door to speak to the foreman of the camp.
| 2 |
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| 10 | false |
You reach the fortress at about noon the next day. It's really not much of a castle. Instead of stone, like you would expect, it's made completely out of wood, with a few rickety looking towers poking up from behind the wall. Once you're only about a hundred feet off from the moat, Kralmer stops you.
"Send my family out this way, when you get out." He points at a spot where the moat goes under the wood. "You see where the water crosses under the wall?"
"Yeah?"
"That should take you into the dungeon."
You don't say anything. This is all happening so fast, you're not sure you're ready.
"Thanks again, human." Kralmer says, "Whatever happens, I'll make sure your legacy lives on."
"Right," you say, "Thanks."
There's no point in stalling, so you start running towards the moat, fast as you can, so no one sees you. Once you reach the edge, you don't hesitate to dive right it.
The water is warmer than you expected, and murky. It's hard to stay afloat with a backpack on, but you still manage to keep your head above the water. Luckily, it doesn't seem to be flowing in any particular direction, so you have no trouble with current. You swim for the opening Kralmer pointed out and duck under it. Suddenly, the sunlight from above is gone. You're in a sort of dirt tunnel, with just enough space at the top for you to breathe. It's fairly short, and before you know it, the river opens up into a sort of pool at the edge of a huge underground room.
You swim to the edge of the pool, out of breath. Are you really this out of shape? For a moment you sit on your hands and knees, panting. Then, you look up and get a good look at the wall on the other side of the room. You suck in your breath. It's lined with cages, set into the wall, dirty and disheveled Oalkwardner eyes staring out at you from behind wooden... well, they're not exactly bars... more like fat wooden sticks.
It looks like this part of the fortress is built into the hillside, as half of the walls are wood, and the other half, dirt, hard packed.
Thankfully, there are no guards down here, at least not right now. You need to decide if you're going to free the prisoners now, or wait until after the king is dead.
> You free the people first
You rush up to the bars of the nearest cage to you. In that moment, you decide that there's no way you're leaving anyone behind. If you're taking one, you're taking them all.
"I'm here to save you." You say in a low voice, "all of you."
"What... are you?" Asks the Oalkwardner in the cage, inching backwards.
"I'm a friend, now let me get these bars off the cage."
You grip the bars and pull as hard as you can, but they don't budge. This is real wood, not the Paper-Mache everything else in this place is made of. You're going to have to find another way to get through it. Maybe you can steal the keys off a guard or something. Or maybe...
You sling your bag off your shoulders and go through the contents until you find what you're looking for. It takes a minute, and for a moment you fear it might have fallen out of your bag. But no, at the bottom of your bag, lays your lighter, untouched since the night you first woke up.
Maybe, you can use this on lock of the cell! Because even that's made of wood, for some reason. Or maybe you should just play it safe and look for the keys...
> You attempt to burn through the lock
Working quickly, you put the lighter up to the keyhole and flick it on. Somehow, even after you swam through that moat, it still works. The lock catches instantly, faster than you would've thought possible. Once again, you grip the bars and wrench open the door.
"Are you a wizard?" The Oalkwardner asks, "What kind of magical power is that? I've never seen anything like it? Also, is it going to eat the whole door?"
You glance once again at the door to see that the entire thing is engulfed in flames. How is it possible for fire to spread that fast? Either this is your faulty memory at work, or this wood is different from the stuff back at home. Even as you think this it's already spreading to the rest of the cell.
"Get out of there!" You cry, pulling the Oalkwardner out of the flaming cell.
The fire is spreading quicker and quicker. Before you even manage to take so much as two steps back, the entire wall is in flames. The other trapped Oalkwardners scream as they and their cells are consumed in the flames.
"We've gotta get to the exit!" The Oalkwardner says, pointing to an opening in the wall, with a spiral staircase just beyond it, "Come on!"
"But what about-" You're cut off by a loud crack. The exit collapses, and sparks fly everywhere. One of them lands on your Oalkwardner friend, and catches him on fire.
"Gaahhh!" he screams as the flames engulf him, burning him as if he's made of paper. Your stomach turns at the sight and you look away.
At that moment, the ceiling caves in, and falls right on top of you, killing you instantly.
> You epilouge
So, you're dead. But let's look on the bright side of things, shall we? After you died, the fire spread to the rest of the palace, burning it completely to the ground. No one escaped, not even the king and his invincible suit of amour! Not even his children made it out, so there was no one left to take his place. No one, that is, except for the rebel alliance the Grand Protector and his army were trying to find. With the king dead, they sweep in and take power within a month. They estate a new order, where everyone shares what they have, and the government owns the means of production.*
Even you get to live on in the hearts and minds of everyone you saved from the king's reign of terror. They even erected a statue in your honor! (Though, it looks nothing like you). You will be known forevermore as, "Human, Martyr of the New Order."
So, in a way, even you get to live happily ever after. Everyone, it seems, gets a happy ending.
Except for all the innocent people you killed in the dungeon.
And Kralmer, because his entire family is dead. He will forever curse your name.
*I swear, I'm not communist.
| 3 |
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| 11 | false |
After word gets around about how you helped save that Oalkwardner girl, the villagers seem to trust you enough to allow you to roam the city without sounding any alarms. Over the next few days, you help with preparations for the funeral, in part because there's nothing better to do, but also because you feel a little bad about not helping Merk with his search. Who knows? Maybe you would've been the difference between his life and death.
When the day of the funeral rolls around, the entire town gathers in the square. It's the most extravagant display you've ever seen in your short time at the village, with tons of food for all and more flowers than you've ever seen in one place before. It must've cost a fortune in... whatever these guys use as currency. Merk must've done quite a lot to help the community, because there sure are a lot of drooping ears. (Which, you've learned, is the Oalkwardner's equivalent to crying).
You stand at the edge of the crowd, still not quite feeling like a part of the community, as the Elder gives a speech.
"We are gathered here today to commemorate the life of Merk, Gertra, and Silia, three of the greatest-"
A pounding in the distance interrupts the speech. The whole crowd turns towards the source of the noise just in time to see a whole procession of Oalkwardners dressed in the brightest reds and yellows, all riding creatures like ponies, but with little spines running down their back instead of manes. They beat on little drums, all in sync.
The Oalkwardner at the front of the pack raises her arm and raises her voice.
"Presenting, the great Yelgar, Grand Protector of Realgna and the surrounding country!"
The Drummers beat their drums faster and faster now, parting to allow a carriage to pass through, drawn by three lizard-like creatures, the size of bulls. The crowd parts for the carriage, and it stops right in front of the stage.
The door on the side of the vessel opens, and out hops a rather tall Oalkwardner wearing a red cape and strange, red bracelets spiraling around the entirety of his forearms, like snakes.
"People of the village of Arrorn!" He says, "I have come with grave news. It truly is a shame to interrupt such a lavish funeral, but there are more important matters at hand. It has come to my attention that there is a base of Rebels in the area, planning to overthrow the kingdom and estate a blasphemous 'new order.' These are the very same rebels that killed these three!" He gestures at the paintings of the three fallen Oalkwardners, set on easels on the stage. "We must act now, lest our glorious empire be overthrown. Outside this village is the seventy-third division of the King's army, sent to protect this village and take out the Rebel scum in our midst! It is for this reason, that the King and I felt the need to impose martial law on this village and the surrounding area! We will also be tripling the tax to sustain our troops. And we'll be taking all this lovely food you've set out for the funeral. Desperate times, desperate measures and all that."
A cry of protest comes from deep within the crowd. "You're already taking three quarters of everything we have!" A female Oalkwardner pushes her way to the front of the crowd to confront the Yelgar. "We can barely survive as it is! And that food for the funeral is the last of our reserves, we only took it out in the first place because Merk and the others did so much for us in their lives!"
Yelgar stares her straight in the face. "I understand your concern." He says, "But as I said, desperate times, desperate measures. Guards, restrain her!" Two of the horsemen hop off their steeds and grab the girl by the arms, forcing her to her knees. Yelgar raises his hand, and slaps her across the face, and the crowd gasps.
"Do not question the authority of the Crown." Yelgar says, still deathly calm, "Or you might wind up like them too," he nods towards the paintings.
"Who gives a crap about the Crown? We're all gonna die anyway under your 'martial law', so may as well go out fighting!" The girl glares at Yelgar, as the whole crowd seems to hold its breath.
"I see how it is," Yelgar says, clearly disappointed. "Then let this be an example to anyone else who thinks of dissenting." He reaches beneath his cloak and pulls out a wooden knife, raising it above his head to strike at the girl, now trembling in the guards grip.
"C-come on," the girl says, voice faltering, "They can't stop all of us! I say we finish what those rebels started!"
Still, no one moves. The whole thing reminds you, once again, of the girl in the forest the night you woke up. The guilt of leaving her behind wells up within you, are you really gonna let it happen again?
> You yeah, you can live with that. This way you get to stay alive, even if you have to live as a coward.
You want to do something, you really do, but fear paralyzes you. It's all you can do to look away as the knife comes down. Even without looking, you know when the knife falls by the gasps of the crowd and the final screams of the victim.
"Do not forget the events of today," Yelgar says, "Remain under the crown, lest you meet the same fate as this poor, misguided soul here."
A wave of nausea hits you, you can barely manage to stay standing. What kind dictatorship is this? The village seemed almost peaceful when you first arrived, but now, you're not so sure. Your thoughts are interrupted when you hear one of the guards say,
"Sir! What on earth is that?"
You turn to see one of the taller soldiers pointing straight at you. Your heart begins to pound. Now the rest of the guards are looking at you, you can feel their eyes all over you, crawling over your skin like spiders.
"It's a monster!" Yelgar cries, "Capture it before it destroys the village!"
You should do something, run, hide, get ready to fight. But suddenly there doesn't seem to be enough oxygen in your lungs, as much as you gasp. You fall to your hands and knees, heaving. Another panic attack? There's no time for this, you have to escape... but it's so... hard to breathe....
Before you know it, you're surrounded by guards, all pointing spears your way. They close in so tight that any one of them could take you out in one blow if they really needed to. Why isn't anyone standing up for you? They all know you're harmless. Maybe they're all too afraid to say anything.
The guards all bring down their spears at once, and you know no more...
| 4 |
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| 10 | false |
You get out and take a gun with you. "Hey," you say. The two attackers look over at you. The man tied to the pole can barely move his head. "What's going on here?"
"This fine gentleman over here," one of the men points to the beaten victim, "has broken our golden rule. That rule is NO TRESPASSING. And it seems to me that you are also breaking that rule. So I think a punishment for you is in order as well!"
> You shoot them both
You won't let the man continue. You draw your gun and shoot both men down. They were at close range, but it still took a few shots. Once they're dead, you go up to the victim. His face is swollen, and his nose is bleeding. He flinches, expecting you to attack him too.
> You kill the hostage
You have no interest in dealing with another group member. You put the man out of his misery, and get back in the car.
> You keep driving
You begin to get a bad feeling about the place. The empty buildings and atmosphere feel a lot more sinister now than they did a second ago. Your instincts kick in, and you try to drive away.
You quickly find that the roads have been blocked off by debris. They're herding you in a certain direction. You can't get out of the car, either, as you start to see other people watching you out of buildings and behind trash cans. In a last ditch effort to get away, you throw the minivan in reverse.
As you try to back out, you see something: a large truck blocks the way out. They've sealed the road behind you. A man holding a golf club comes out of a nearby building and starts running toward the minivan. In total panic, you speed down the road, away from the truck.
Barbara is gripping her armrests in fear. You would be, but both your hands are on the steering wheel. You drive down the road, exactly where they want you to. You can hear the truck following closely behind you. Suddenly, you drive into a dead end. The way forward is blocked. The truck pulls to a stop behind you, trapping you.
You have no choice but to get out of the car. A mob of people has gathered around your vehicle. Your group follows suit, and gets out of the car.
"Okay, let's not waste time. Give us your stuff, and your car, and we'll escort you to your new home," barks a large, bald man. The crowd of angry people with their guns pointed at you reminds you that you'll have to speak carefully.
> You offer a deal
"We can work this out," you say. The man lowers his gun. "I'm listening."
> You offer a group member
You look back at your group. "I'll give you a person, from my group. They can work for you, or whatever you want." The man seems to strongly consider it. You regret making the offer, but it's too late now. You look back one more time. Barbara gives you a look of total disgust.
Finally, the man nods. "Yes, I think that just may work. Reginald, clear the road outta here," he says to another. He turns, and looks over your group. "I want the girl."
Barbara starts crying immediately. Megan has a look of fear on her face, and Mikey shows nothing but resentment. Two people break from the crowd and grab Megan. They pull her away and out of sight. "Okay," he says. "That's it. Take the little track over there, it'll take you right out of here." The man turns to walk away. "Pleasure doing business with you," he adds.
Barbara and Mikey get in the minivan without you, and drive off. Mikey flips you off from the backseat. You admittedly feel terrible. As the crowd parts, you feel terrible for your choice. But you can't go back now. You follow the minivan on foot, until you're out of the slums.
> ....
You aren't sure how to feel as you pace up the road, vaguely in the direction of Washington. You feel remorse for your decision, and wish you could take it back. Giving up Megan was a stupid choice. She cared about you, and you would gladly hand her over for your own protection. There's no more time to dwell, though. That affair took up the whole day. It'll be dark soon.
you continue up the road, in search of a place to spend the night. About an hour after the sun goes down, you spot something. It looks like a military outpost.
It ends up being exactly that. Judging by the footprints and blood, this place didn't last too long. It's only been a few days, and people are dying fast. Not even the military can seemingly stand up to the ever-growing threat of death. You open the door to the trailer and look inside.
You are rewarded with another gun, this one a Stag-15. It has a half-empty magazine. Other than that, you find nothing in the trailer. It's as good a place as any to sleep, and it has a pullout couch/bed.
You are awoken in the morning by growling. You sit up quickly and look out the window next to the door.
Zombies. And several of them. They have wandered up and down the street, surrounding you on one side. If you could get out the door, and past the horde, you could outrun them and head north again.
> You shoot them
You load up the gun and kick the door open. The closest group of zed growl, and stomp over to you. You kneel for better balance, and do your best to aim. When you pull the trigger, you are surprisingly accurate. By the time you're out of bullets, you've cleared just enough of a path out. You slip by the trailer and move up the street at a steady jog, away from the zombies.
After you've slowed to a walk, you notice another building coming up. It looks kind of like a factory building. It has several floors, is made of brick. Three smokestacks jut out of the building's roof. it seems worthwhile to check out, so you run up to it. You are disappointed to learn that the entrance is surrounded by fencing.
> You move on
Picking at the fence isn't worth it. Besides, why waste time here? Your goal of getting to Washington is still the highest priority. You leave the warehouse alone and continue on your way.
> You what's new?
You continue to walk down the road as before, this time with a gun slung over your shoulder. You spot a sign telling you that you're still on I-5, on a crash course with Washington.
The sun beats down on you as you realize you are quite thirsty. Hungry, too. The way ahead looks bare. Bare except for a road sign. It tells you that if you continue ahead, you'll reach a small town. Next to the town's name, written with blood, is a small message: COME ONE, COME ALL
If you turn to the right, you'll arrive at a rest stop. There won't be food or water, but there will be a gas station (probably empty), and a pharmacy.
> You check the rest stop
You make the decision to see if there's anything worth taking at the rest stop. It's a short walk, and if there's any water, you'll gladly take it.
Just as you suspected, the gas station has been looted of everything. The cash register, the food, even the toilet paper is all gone. Someone beat you to the punch. Oh, well. You go to check the pharmacy. That has been looted too, but not all the way. A few bottles have been left behind, scattered among the shelves. You take a bottle of painkillers and a roll of bandages. Nothing else really seems useful.
> You head to the town
The collar of your shirt is soaked with sweat by the time you spot the town. It's relatively small, and a wall of cars and metal scrap surrounds it. A front gate set on hinges to swing open is right in the middle of the road. Above it sits a guard tower.
You are spotted well before you get to the door. You are ordered to get on your knees and place any weapons you have on the ground. You place your gun on the road in clear view of the tower and comply. The gate swings open, and a small group comes to meet you.
The group consists of a clean-shaven man, a small boy, and a woman holding a clipboard. "Hello. My name is Rose. Welcome to Fort Z."
After the group makes sure you aren't going to hurt anyone, you get your gun back and are welcomed into the community. You are surprised at how fast it went up. It's only been a few days, but the walls are up, and the community is thriving (for now). There is no shortage of people, and homes and buildings have been turned into sleeping quarters, storage, and everything else you can think of. "Well," begins Rose. "It seems like you've come a long way, would you like something?"
> You what are the rules around here?
"Well, there aren't many rules around here, because no one seems to be causing any trouble. Just don't hurt anyone or steal anything and you should be fine," says Rose. "Also, don't do anything stupid," adds the clean-shaven man.
> You who are these people?
"Oh, jeez," Rose begins. "I couldn't hope to remember everyone's name. But, this is Callaghan," Rose says of the clean-shaven man. He reaches out to shake your hand. "It's a pleasure to meet you," he says. "Then there's Max," Rose pats the little boy on the head. The boy is hiding behind his mother's legs. "We're kind of like the government around here. Other than that, you can make friends as you wish."
| 3 |
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| 8 | false |
The captain of the airship waits patiently at her desk, awaiting your next question.
> You ask her about the Gahl'vuhr Sehn
“I should have anticipated such a question from you, Unworthy,” the captain says, scowling. “The Gahl’vuhr Sehn is a governing body which oversees all operations and protocol undertaken by us Auvahrs, as well as Tenurs and some subspecies of Comors. They strictly enforce the rules and policies put in place to maintain some sense of order among the sky islands, although Unworthy ones such as yourself are unfortunately exempt from such regulations.
“However, it has probably not escaped your notice that Gahl’vuhr Sehn has their work cut out for them at the moment. Just a bit of chaos going around, that’s all, thanks to what’s going on at the surface. I should also mention that just because myself and my crew are members of the Gahl’vuhr Sehn, we are not especially high-ranking in the organisation.” She cocks her head to one side. “Perks of the job, you might say. It’s probably the only reason why I let Mother Ghared save your skin.”
You have never heard of this Gahl’vuhr Sehn, not in all your years living at your island. Rules and regulations? You and your family have never needed such things. That’s the whole point of life in the sky islands. You are free. The thought of other people trying to limit such unrestrained freedom makes you feel rather worried about what might be really going on.
| 5 |
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| 0 | false |
The captain of the airship waits patiently at her desk, awaiting your next question.
> You ask her about what happened to you
“Several hours ago, you fell out of the sky,” she says. “You weren’t the only one, either. There were entire islands collapsing to the left and right, and I had to get the ship out of the way to avoid being crushed by the next giant land mass. Mother Ghared…”
Mother Ghared steps forward at this point. “I was on duty at the front deck when you emerged,” she says calmly. “Unlike the others who fell, you had a slim chance of survival. I chose to use my abilities to slow your fall and take you on board. The captain did not approve of my decision, but I was able to persuade her to let you live until we reached the next island.”
The captain shakes her head in disgust. “Fat lot of good that will do us, Mother Ghared. If we’re unlucky enough to run into a Gahl’vuhr Sehn patrol when we reach Majeruk, they’ll want to know why we have an Unworthy on board.” She glares at you. “I’ll just tell them that you were a stowaway and that Mother Ghared refused to let me throw you over the side. Doesn’t matter if the world’s splitting down the middle or if islands are falling out of the damn sky – as far as the Gahl’vuhr Sehn is concerned, rules are rules. They must be followed. I’m so glad that the highest-ranking representative on board has decided to break them on my behalf.”
“You may defer any responsibility to me, captain,” Mother Ghared says. “They will understand. Even the life of an Unworthy can give rise to many new members of the Gahl’vuhr Sehn. The future is always uncertain.”
“That’s easy for you to say, Mother Ghared, but I like my future to stay as stable as possible.” The captain turns her attention back to you. “What else was there? Oh, yes. We brought you inside and had no choice but to put you in the cabin in which one of our prisoners was housed. Not the safest choice, but we are already stretched to full capacity here.”
You recall the mutant you saw in your room. “Prisoner?” you repeat.
“Cargo is not the only thing we transport on this airship,” she states. “Occasionally we are given the task of transporting valuable and dangerous criminals to far-off locations – some islands are used for prisoners alone. “Prison islands”, we call them. Leave them there to rot away, stranded, where they can’t hurt anyone. Better than any of those primitive human jails, in my opinion.” She sits back in her chair. “I’m sure the prisoner didn’t bother you at all. It would be a pretty big problem if that one managed to escape. A single mutant has the means to contact many others of its kind, and those creatures carry grudges against their captors for years. Downright murderous, they are. That's why it's essential that we keep every single one of them locked up.”
| 4 |
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| 12 | false |
Over the next few days, the airship you’re on continues to drift at the mercy of the wind. You see no other inhabitable islands within range, and have no way of turning the ship around towards the islands you do see. Progress is painfully slow, and you feel sure that you will die here. Your supplies have dwindled down to almost nothing.
The captain’s condition worsens near the end of the week. You manage to get her conscious enough to eat what little food and water you have left, but she barely eats anything at all. You don’t have much hope for her survival, and every day she seems weaker than ever. A realistic approach would be to leave her to die and save what precious provisions remain, but you can’t see what good that will do. This ship isn’t going anywhere, after all.
It’s difficult to sleep at night on the hard wooden deck. The stink of the corpses is too much to bear, and you spend hours dragging them off the ship and shoving him over the side. You thought that removing the extra weight would help the ship move faster, but it doesn’t. Nothing works. Nothing you do seems to help anymore.
You run out of food in the middle of the second week.
There’s still water. Water can keep someone going a lot longer than food deprivation will. It hasn’t rained for so long. No storms. No rainfall. You almost wish for a storm to hit the ship, something to break the monotony, but right now this isn’t a ship anymore. This is just half a ship, and you’re just half of the skeleton crew.
Just mere skeletons now.
You’re getting weak from lack of food. The gnawing pain in your stomach won’t go away, and you don’t want to waste what little water is left. You think about denying the captain water altogether. Someone has to survive.
When the next week begins, you awaken to see a strange red mist rise up ahead, out of the gloom. You’ve never seen such a thing before, and something about it frightens you. You feel that the airship has entered a part of the sky that nobody should enter, like a forbidden area. You don’t want anything to do with this mist, just want to lie on your bed and clamp your hands over your ears and block everything out.
You’re so hungry. You’re so hungry and tired, tired and hungry, sick and tired, tired and sick…Does it really matter anymore? Does anything matter?
> You stay up on deck to see what happens
You stay on deck as the red mist descends upon the airship. Something doesn’t feel right about this, but you’re too tired and hungry to care. The unconscious captain is lying nearby, just as vulnerable to the mist as you are. For a moment you consider taking her inside her room to give her some better protection from whatever effects the mist might have, but it’s too late for that now. You brace yourself, ready to act if anything untoward happens.
Slowly, you feel a strange feeling come over you. The pains of your body begin to recede, here within the red mist. What’s going on? The gnawing hunger in your belly is beginning to disappear, along with your fatigue. There is a movement next to you, and you turn to see the captain open her eyes and slowly get to her feet. Could it be that the effects of the red mist are actually beneficial?
Even if it’s nothing but an illusion, you are grateful for the relief from the constant pain that has plagued you for the past week or so. Your body feels light now, lighter than air, and you feel almost as if you are floating. The captain turns to stare at you, and you realise that both of you are moving upwards. You don’t know what’s going on, but this doesn’t seem too bad. Perhaps you could rise up to a greater height and find an island, where help may be found –
You chance looking down and see a sight which fills you with horror.
Two dead bodies lie on the deck of the airship, directly below you. They belong to you and the captain.
You turn to call out to the captain, thinking to warn her about what’s happening, but no sound escapes your lips. Your face and body is changing, splitting apart, slowly disintegrating…into just another part of the red mist. The same thing is happening to the captain. She opens her mouth in a silent scream just seconds before she, too, is absorbed.
The red mist marks an uncharted region of the sky, beyond which no wind blows at all. It has one primary, deadly purpose: to leech away the life-force of the poor souls who drift this far away from the sky islands, far away from any hope of civilisation. Your life-force has now been converted into new energy to facilitate the mist, and you exist no longer.
You are just part of the red mist now, drifting eternally across this patch of sky to prey upon any survivors of doomed airships which come here. You perish here within uncharted territory, yet live on as part of a mass entity, claiming the lives of others who have already given up hope.
| 3 |
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Matti is asleep. Hinsman is seated at a table near the bed, freshly showered and changed into a grey jumpsuit identical to yours and looking exhausted. Karoff is nowhere to be seen.
“He’s back on the ship seeing how much power we can spare,” Hinsman tells you, before you can ask. “This medical station’s about the only thing working as intended in this place right now. We need to at least get the computers up before we can figure out what all needs to be repaired and how. It’d be really great if we had a maintenance worker familiar with the place to talk to, but...” He inclines his head toward the young woman’s supine form and shrugs. The end of what’s left of her arm is neatly wrapped in bandages, but her face looks pale and strained even in her sleep and her eyes twitch restlessly behind her lids.
Briefly you relate what you’d discovered.
“The plot thickens,” he mutters, then gestures toward the computer. “Why don’t you see what you can find there as far as internal records on these three?”
You nod and take a seat, flashing your wrist at the sensor. The computer blips once and you’re in. You have a pretty high clearance. Higher even than Hinsman’s you suspect, although that’s not really a thing you’re supposed to ask anyone about. Retrieving sensitive data from wrecked Order ships or evacuated command stations is one of the things you need to be able to do with no fuss when required, and your superiors know this.
> You look up Markov
Name: Markov Carst
Eyes: blue
Hair: brown
Height: 6’3”
Weight: 201
Age: 41
Other: left handed
Origin: Galton Station
Skills: fringe space station maintenance
Years service: 5
| 4 |
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| 9 | false |
You ease the shuttle closer, and closer still. The viewscreen isn’t needed to get a visual on the probe now; you can just look out the window. It’s small, but the slender segmented form puts you in mind of a wasp, with a pair of satellites making up the ‘wings’. The design is sleek and something about it worries you. The longer you look at it the more you get the sense it’s dangerous somehow. But that’s just all the more reason to take it out of commission.
> You disable it with laser fire to be safe.
A precisely aimed laser from close range is a far cry from a fusion torpedo, and won’t harm the probe in any way that would prevent it from being studied. You target the spherical ‘head’ of the wasp and fire.
A quick spit of green light burns a tiny hole through what you hope is the central processor. A moment later you realize your error however as the shot has not only failed to disable the probe, but triggered a response in return. The shield indicator on your screen blinks to zero for a split second, accompanied by a sound of metal clinking against the outside of the ship.
“What the--”
Crackling energy is suddenly crawling from every wall. The wave rips through you and your vision goes white, then black. You’re dimly conscious of hitting the floor, and then never wake up again.
| 5 |
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| 1 | false |
Yanking on the handle of the airlock door, you hear the locking mechanism disengage with a satisfying clank. Once inside, you seal it behind you again before proceeding. This last segment of the medical arm lost gravity and life support with the others, but was never exposed directly to space. It seems likely the actual origin of the sabotage was the area you were just in, with the chain of explosions moving from there in the direction of the central part of the station.
There is quite a bit of floating furniture and assorted medical equipment and other clutter to maneuver through, but thankfully there are no major obstacles or...other distractions between you and the turret. You power and arm it, checking the status of the torpedoes and ensuring everything seems to be in working order before giving the others a call. Karoff confirms the gun is online and you begin to make your way back.
You still are struggling a bit to keep your head clear, and begin reading the labels on the doors you pass and counting them too to keep your thoughts from wandering back to the that same place, the stripes of sunlight across the grass, again and again.
What should be door number twenty-eight is open, and when you shine your light inside it falls upon a long white cabinet inside. Particularly, upon the smears of dried blood upon it, one of them a near perfect hand print.
“He was trying to unlock a cabinet but his hands were all torn up.”
You recall Matti’s words from a few hours ago, although with far less clarity and immediacy that that of the woman who so long ago shouted for Zani and Nyla to run to the woods. Is this the room where Markov died?
> You don't care about any of this anymore.
Sorrow, anger, and pain still thunder just beyond the edge of your conscious thought. In your eyes, the major failing of the saboteur now was in not blowing this entire station to cosmic dust and sparing you from this brink of madness. You were content in your role before, happy to tirelessly devote yourself to the Order’s interests, and now? You no longer care about what was done here or why. Let someone else figure that out, or not. What difference does it make?
You return to the central complex, making sure not to stare into the abyss this time as you cross it.
“I’m fine,” you say in answer to Hinsman’s look when you enter, brushing past him. Except for the monitors in the main computer room turned command center, the station is once again dark. Somehow this environment seems to magnify the echo of footsteps. Peering around the curve of a corridor, you see another oasis of light washing against a wall; the nursing station where Matti is resting.
You busy yourself the next several hours, putting equipment away, helping Karoff calibrate this or that and keeping watch while he and Hinsman sleep. In the end the power situation means the three of you will only able to get partial shielding up around the non vital sections, which are essentially everything but the docking bay and central complex. Hopefully that will be enough.
Hinsman has already seen to Matti and he and Karoff are having a quick breakfast and complaining about the coffee substitute when the moment arrives. An alert from the computer indicates something just emerged from underspace. The three of you gather in the command center and Karoff quickly locates the ship.
“No affiliation and armed to the teeth. Yep, we got a pirate.”
Hinsman drains his faux coffee and sets the cup aside. “Just one? Shouldn’t be too hard to handle.”
“Yeah, there’s...dammit! You jinxed us. Now there’s two, three...eight on approach. And they’re hard to track.”
“Sensors didn’t pick them up?” you ask.
“The first ship was a carrier. It’s how you disguise the size of your force if for instance, you think someone may have an alert set for anyone exiting underspace.”
| 5 |
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| 12 | false |
Well, no sense in putting it off. You remind yourself that if her story is to be believed, poor, stupid, terrified Matti made this jump not once, but twice, and carrying Markov’s bloody body behind her the second time. Aiming yourself carefully in the direction you want to go, an airlock that leads to the last section of this wing, you use your legs to launch yourself towards it in a single smooth motion. On instinct you’ve angled your body into an aerodynamic shape, legs straight behind and arms stretched out in front of you, although you know it doesn’t really matter. As you sail across the gap, you stare downward into infinity. You feel like you’re flying. You feel like...a bird...
Green grass. The smell of it.
A long blade of green grass, striped by the horizontal bars of sunlight and shadow cast by its fellows. An ant crawls up the blade, in and out of the stripes. Another ant tickles your arm.
New shadows race across the sun. There are silver wings in the distance, and a beautiful white light.
“Look at the birds, Mommy!”
“Zani, get inside!”
The fresh smell of grass is replaced by acrid smoke. Screams and shouts. Muffled explosions in the distance. You are underground, but not deep enough. Boots thud overhead. Your sister is crying. You want to cry too. Everyone is afraid, even the adults. Especially the adults.
“The Order!”
“Oh my God, they’re killing everyone!”
“We’re not infected! Listen to us, please!”
“Zani, Nyla, run to the woods!”
You’re running hard, pulling your sister behind you. There is another explosion, not so distant. The force hurls you hard against the ground. The grass is gone, the earth is a scorched and blackened wound. You and the earth are the same now. Where is Nyla? The pain is incredible. Blackness. You--
--you stare down into the blackness. You hit the wall on the other side hard but somehow instinctively grabbed the metal bar next to the airlock. The metal will surely bend, if you squeeze it any harder. Your eyes sting. Your chest aches like its simultaneously been hollowed out and is just about to burst. Physically you’re fine. But from your memory--and you know now for certain that it was a memory--you know now that this is what it feels like to want to cry.
No tears stain your cheeks, of course. Your brain may be human, but most of the rest of you decidedly is not. Still, you feel weak, shaky, and can’t bring yourself to continue on for quite some time. Unless you deliberately keep your thoughts focused elsewhere, your mind drifts again and again to the memories.
“The Order!”
“Oh my God, they’re killing everyone!”
Those two sentences in particular, shouted at a near hysterical pitch by a voice that seems hauntingly familiar plague you the most. You don’t like the implications.
At some point you realize your communicator has been going off. Hinsman’s voice is speaking to you, sounding worried.
You take a deep breath. “I’m fine.” Your words are faint, barely audible.
“Are you sure, Zee?” He sounds skeptical.
> You you're fine.
“Y-yeah, I just...had some trouble getting across this section with the worst of the damage. It’s bigger than it looked on the images we had. I’m fine now though, just had a close call.”
“All right, well glad you’re all right, and be careful, Zee.”
“Right. I’ll be at the turret soon.”
You cut the call and take a deep breath, telling yourself you’ve got to pull yourself together. This is an astoundingly bad place and time to be having a crisis. You’re unsure if that was your entire motivation in not telling Hinsman the truth, but you know you need to focus on getting the defenses up now. The memories, and the painful questions they’ve made you ask...you’ll dwell on that later when there’s no danger of attack.
Meanwhile you’ll just hope that they don’t return, or at least not with such force that you can’t function. You need to stay focused.
| 5 |
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| 9 | false |
You thought you had heard some noises during the night but there are no signs of other people in the cave. Sadly, your snares are empty too so it'll be another day of dried meat unless you find a traveller on the road today.
You cover the embers of the fire and walk back to the road. Once you reach it, you see a lot of fresh footprints and realize you must have missed a group that passed during the night. The tracks lead North so you follow them for a short distance on the road before coming across their abandoned camp on the edge of the woods.
A quick look tells you they packed up and started their march North again several hours ago.
> You search the camp remains for any valubles or food
Having decided to search the camp you reason that you should do it properly. You set a few snares in the trees nearby then start going over the camp carefully. You estimate that 40 to 60 people were here and they had lit a good number of fires so you search carefully around them and search in the grass beside the indents of the bedrolls.
You spent a couple of hours looking but apart from two miss-laid copper coins you find little of worth. Still, copper coins add up and you know what its like to go hungry so you add them to your pouch and collect up your snares. The only other thing you take is an old leather water bottle which you tie to your belt and remind yourself to fill it the next time you come across a stream.
> The road North again
Having finished searching the camp, you start North again on the road. You still see signs of the group ahead of you but they have well over half a days hard march on you and judging by how late they camped and how early they set off you decide that you won't be able to catch them without running for the rest of the day, and your not willing to try that just for some company. So, you set off at a steady pace North again looking for any signs of a turn off that may lead to the mine.
You spend an uneventful 2 days on the road, stopping occasionally to camp and refill your supplies but on the 3rd day you finally see signs that the group ahead of you turned off into the foothills west of the road.
Reasoning that such a large group must have a reason for heading into the hills, you decide that they are probably the crew for the new mine and that you've found the entrance. Knowing that with such a large group already there most jobs will be filled you can follow them and hope for some paid manual labor or you can give up on it and head South for the city.
| 4 |
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| 9 | false |
Valentine’s death sends the crew’s spirits plunging low and Bligh decides to raise morale by instructing the crew to dance a jig to the tunes of a half-blind fiddler he has brought on board. The last thing the crew feel like doing is dancing but the sailors obligingly force themselves to their feet and dance wearily to the tunes the fiddler plays. You are dancing when you notice two men are remaining seated.
William Brown, a mild scientific man who Bligh brought on board as a botanist to take care of the breadfruit plants is talking quietly to John Mills the Gunner’s Mate, a tough and unfriendly older man. You see Fletcher Christian go over and encourage them to dance but Mills shakes his head emphatically and Brown lowers his head. Christian shrugs and walks away.
> You keep dancing
You continue to dance but moments later Bligh shouts for the music to stop and storms towards the seated men.
“Why are you not dancing like the others?” he demands.
“It does not seem like an appropriate time for that,” Brown says quietly.
“Damn you for contemptible rascals,” Bligh cries. “Both of you will have your grog stopped from now until we reach Tahiti.”
Mills glares back at him with a half-smile on his face as Bligh turns, returns to his former position near the helm and orders the fiddler to keep playing. The punishment is a harsh one but not as bad as it could have been: a week later you reach Tahiti.
| 3 |
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| 5 | false |
After the lashing of Quintal you and the rest of your crew go about your duties quietly and you soon come upon Cape Horn in atrocious weather. For over four weeks Bligh tries to sail the Bounty into the face of a terrible wind, tacking into the face of a gale. You and several other sailors come down with fevers, brought on by constant exertion in freezing rain and tiredness, and finally Bligh admits defeat and turns the ship east.
You will sail to Tahiti east, around the southern tip of Africa instead. Despite the storm damage the Bounty makes good speed and arrives off Cape Town on the tip of South Africa after a month of sailing. Bligh steers the Bounty carefully into the busy harbor and you and another sailor called John Williams are sent to sound the depths with a lead line. You are both feeding the rope out when the lead snags on some rocks far below. Because the Bounty is still going pretty fast the rope starts sliding rapidly through your hands cutting them badly.
> You let go
You are not going to get your hands sliced open for a lead and line and you and Williams both release the rope. Like a demented snake it zooms across the deck and over the rail, landing in the sea below with a splash. You are both standing there blowing on your burnt hands and cursing when you hear a familiar high-pitched cry and look up to see Bligh striding towards you both.
“You incompetent mongrels!” he snarls at you both. “You think that losing that lead is a small thing? Six lashes each for neglect and dereliction of duty!”
The lash is fetched again, you and Williams are roped to the mast and the Quartermasters begin whipping you both, drawing blood. Bligh watches emotionlessly until it is all over and then he turns on his heel and returns to his cabin.
| 3 |
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| 7 | false |
After leaving the English Channel the weather does indeed improve and you stop off at the Canary Islands for a week. Spirits are high as you sail onto the southwest bound for Tahiti, an island which you have heard of but have no idea where it is. You gather Bligh intends to sail around Cape Horn, the southernmost tip of South America, to get there. The ship is sailing so well Bligh decides to promote a protégé of his called Fletcher Christian from Master’s Mate to Acting Lieutenant, effectively making him Bligh’s deputy.
Like everyone else on board the ship you like Christian. He is a cheerful and very likable young man, though a slightly sensitive soul who takes a solicitous interest in everyone’s welfare. His promotion comes at the expense of the Sailing Master John Fryer, a professional man, whose strong, independent opinions seem to irritate Bligh. He takes Christian’s promotion without a word but some of the crew are not so subtle.
Matthew Quintal is one of your fellow seamen, a young Cornishman and a natural-born trouble-maker, always looking for an opportunity to make a little mischief. One morning he is scrubbing the deck close to where Fryer is sighting the sun with a sextant and begins to mock Fryer about Christian’s promotion, lightly at first and then more harshly when Fryer shows no response. Some of the other sailors standing nearby are exchanging glances and grinning.
> You stay quiet
You stay silent as Quintal continues to jeer Fryer, who largely ignores him, replying with brief, disdainful sentences. Suddenly you all jump as a bizarrely high-pitched cry rings out from further up the deck and you all glance up to see the comical form of Bligh striding towards you.
“You infernal scoundrels!” he roars. “How dare you cowardly rascals show such insolence and contempt for Mr Fryer! Mr Fryer, how came you to permit such a thing to happen sir? Twenty-four lashes sailor to remind you of the proper way of addressing your superiors! Master-at-Arms, fetch the lash! Quartermaster, prepare this man!”
Quintal is seized, the shirt torn from his back and he is lashed to the mast. The Master-at-Arms approaches with the cat o’nine tails and begins flaying Quintal’s back. Soon blood is pouring down his backside and legs as the flesh is stripped from his back but Quintal takes it all in silence. The crew also watch in grim silence until the punishment is complete.
“May that be a lesson to you all!” Bligh declares.
| 4 |
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| 7 | false |
The thug is right in front of me, picking on people weaker than himself. The very definition of a coward. Attacks unarmed people, specifically chooses those that cannot defend themselves. It's people like this that make project: Eden sound like a good idea. He hasn't spotted me yet. He probably wouldn't if I glowed in the dark, dimwitted asshole. He has a knife, but it's not like that's much of a challenge, not for a Homo Perfectus.
REMAINING HEALTH: 100%
> You attack the thug from behind.
I come at the thug from the shadows and punch him across his face. I seem to have forgotten to increase my strength, so the hit doesn't take him out. Panicing, he swiftly swipes the knife at me, and barely manages to slash my arm. I then deliver a second hit, and this one takes him out. The fact that a punk like him managed to get a hit at me is more painful than the actual wound.
REMAINING HEALTH: 85%
> You talk to the victim.
I approach the civilian, who is still cowering on the ground.
"Are you alright?"
He looks up and sees who I am.
"I...yeah. Did you..."
"You should be safe now. I hope this reminds you that Gorgon city is not safe during the night."
"Right, yeah. Thank's again."
REMAINING HEALTH: 85%
> You leave.
I've done what I can here. Best I go back home. It takes time, since most of it is just walking as I don't have the necessary speed to run across the rooftops, but I get there eventually.
REMAINING HEALTH: 85%
> You enter the apartment.
I press the key into the slot and open the lock. I then push the door open, wobble towards the couch and hurl myself into it. I intentionally placed the couch there, I am always so tired after a ten-hour Shade marathon, which I take almost every day. The city is just as dark as before. Adam gave the scum of the Earth a second chance, and this is how they use it. Stealing and killing anyone or anything they can think of! After a few minutes of resting I decide to close the door. I don't want anyone in the building to see Shade sitting on the couch placed directly in front of the front door, do I? That would be inconvenient for me as Eve. Now, I should probably take care of this wound. Damn bastard getting a lucky shot.
REMAINING HEALTH: 85%
> You stop the bleeding.
I immediately enter the bathroom and remove my jacket. Some blood has stained it, and it was slightly cut as well, but it has seen worse. I cover the wound with bandages and apply pressure onto it. Soon the bleeding has stopped. The wound is still there, but this fixes a majority of the problem.
REMAINING HEALTH: 85%
| 3 |
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| 4 | false |
The thug is right in front of me, picking on people weaker than himself. The very definition of a coward. Attacks unarmed people, specifically chooses those that cannot defend themselves. It's people like this that make project: Eden sound like a good idea. He hasn't spotted me yet. He probably wouldn't if I glowed in the dark, dimwitted asshole. He has a knife, but it's not like that's much of a challenge, not for a Homo Perfectus.
REMAINING HEALTH: 100%
> You wait and see what transpires.
I decide to wait for a better opportunity to strike. After all, if he was closer and did not see me, I could take him down quickly, silently and painlessly. However, he starts circling around his victim, and doing that, he spots the pair of red glowing eyes staring at him from the depts of the alley.
"Shade!?!"
Just as I though, this guy is a coward. As soon as he sees someone who could fend him off and bite back, he turns around and runs away.
REMAINING HEALTH: 100%
> You sprint after him.
Trying to catch him without any speed enhancement proves challenging, but in the end, without any Homo Perfectus enhancements, I prove to be the faster individual and catch up with him. I grab him and throw him at a wall, which he bounces off and lands on the ground, knocked out. He was even more of a whimp than I thought. Typical of a thug like him.
REMAINING HEALTH: 100%
> You talk to the victim.
I approach the civilian, who is still cowering on the ground.
"Are you alright?"
He looks up and sees who I am.
"I...yeah. Did you..."
"You should be safe now. I hope this reminds you that Gorgon city is not safe during the night."
"Right, yeah. Thank's again."
REMAINING HEALTH: 100%
> You leave.
I've done what I can here. Best I go back home. It takes time, since most of it is just walking as I don't have the necessary speed to run across the rooftops, but I get there eventually.
REMAINING HEALTH: 100%
> You enter the apartment.
I press the key into the slot and open the lock. I then push the door open, wobble towards the couch and hurl myself into it. I intentionally placed the couch there, I am always so tired after a ten-hour Shade marathon, which I take almost every day. The city is just as dark as before. Adam gave the scum of the Earth a second chance, and this is how they use it. Stealing and killing anyone or anything they can think of! After a few minutes of resting I decide to close the door. I don't want anyone in the building to see Shade sitting on the couch placed directly in front of the front door, do I? That would be inconvenient for me as Eve.
REMAINING HEALTH: 100%
| 4 |
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| 2 | false |
I decide to wait for a better opportunity to strike. After all, if he was closer and did not see me, I could take him down quickly, silently and painlessly. However, he starts circling around his victim, and doing that, he spots the pair of red glowing eyes staring at him from the depts of the alley.
"Shade!?!"
Just as I though, this guy is a coward. As soon as he sees someone who could fend him off and bite back, he turns around and runs away.
REMAINING HEALTH: 100%
> You throw something at him.
I grab a nearby chunk of rock and throw it at the thug. However, he is not only moving, but getting further and further away, so the throw misses. Perhaps if I had a more pinpointed vision, I would have gotten him. Regardless, he escaped.
REMAINING HEALTH: 100%
| 3 |
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| 0 | false |
I decide to wait for a better opportunity to strike. After all, if he was closer and did not see me, I could take him down quickly, silently and painlessly. However, he starts circling around his victim, and doing that, he spots the pair of red glowing eyes staring at him from the depts of the alley.
"Shade!?!"
Just as I though, this guy is a coward. As soon as he sees someone who could fend him off and bite back, he turns around and runs away.
REMAINING HEALTH: 100%
> You let him go and attend to the victim.
I decide not to pursue him any further and let him run off. He'll have learned not to give me a reason to kick his ass anyway. Instead, I turn my attention towards the civilian.I approach the civilian, who is still cowering on the ground.
0VOCALS%=%0%"Are you alright?"%%
VOCALS%=%0%He looks up and sees who I am.%%
"I...yeah. Did you..."
"You should be safe now. I hope this reminds you that Gorgon city is not safe during the night."
"Right, yeah. Thank's again."
REMAINING HEALTH: 100%
| 3 |
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| 0 | false |
Your walk back is uneventful. You still aren't sure what the point of that excursion was, but it's nice to get your mind off impending doom for awhile. Plus, as Conway said, there's no shortage of bullets.
You arrive back at the campsite as night is falling. "Well, time to hit the hay," says Conway. "Are we leaving for Washington tomorrow?" you say. It's not that you're getting impatient, but you don't see a reason (beyond Conway's personal reason) for staying back. Conway slowly nods. "Yeah. Yeah, we'll leave soon."
"Soon?" you ask. "Or tomorrow?" Conway doesn't answer this time. You begin to question whether joining him was a good idea, and consider ditching him if you need to. As you retire to your tent, you hear a crackling noise from Conway's duffel bag. Quickly, he fishes out the object. It's a walkie talkie.
Chzzz.....Zhhcccc..tzzz....Hello? Anytzzzz....anyone there? Conway, is chzzzzzzzzzz....
"Yes? Hello, yes! Yes, this is Conway Matthews, deployed with the fourth wave? Do you copy?"
Tzhhhhhh.....Chzzzz...... getting really bad outthcccczzzz....going to leave soon.....wanted to check for any others....tchzz.......tchzzzare you? Come to the......thczzzzz.....
Conway fiddles with the receiver in an attempt to make the signal stronger. "I'm losing connection! Where are we supposed to go?"
Tchzzzzzz....................341...tchzzzstreet.....local museum.....
Conway looks up at you in slow recognition. "The museum," you repeat. Conway nods. "Let's go. Now."
You quickly collapse the tent, while Conway packs various weapons into his duffel bag. "We aren't gonna have room for everything," he says. "It's either the guns, or the food. I can fit some of both, but we need to make our choice quick."
Meanwhile, the person on the other end of the walkie talkie gives out more advice.
Streets are crowdetchcchhh........be careful.....the dead aren't gchhhhhhhhh.......hundreds of them...in the streets........come quick.....we need to leave soon...
You can make out gunshots in the background. You can hear the same gunshots echoing through the city.
> You mix of food and guns
"Pack both," you say. 'We'll need some of both." Conway nods, and begins packing. You take half the food and half the guns, burying the rest so no one else can get to it. After the duffel bag is full, you move into the streets.
You can immediately tell what the others were talking about. Where the streets used to be empty (of zombies, not of cars), there are now vast hordes. They aren't moving in any direction, or at all for that matter. They just bump into each other and walk in circles. You and Conway elect to stay off the roads, and slip between buildings.
Meanwhile, Conway keeps a conversation going with the other soldier. Through garbled radio speech, you hear him tell you what's going on. The dead are mostly avoiding the museum, which is why that's their pick-up spot.
You're sneaking past a rogue group of zed when the radio suddenly emits a loud burst of static. The group slowly turns their heads, and they growl at a potential food source. "Oh, please no," Conway whispers. The dead slowly hobble over to where you're advancing. You don't know whether to keep sneaking or lash out, but Conway makes that decision for you. Whipping out his knife, he takes the top half the the closest zombie's skull off with one sweep.
You draw your knife, and take care of a few of the others. After the horde is cleared, Conway switches off the walkie talkie. "Not gonna go through that again."
You slowly progress through the city amongst the waves of walkers. Eventually, the museum is in sight. You're surprised to see an actual helicopter guarded by a handful of soldiers. Conway switches the walkie talkie back on.
"We can see you, over."
Tchhhhhh....okay, that's good......These hordes are getting worse....no way you're gonna make it through here.....we can provide covering fire......run for it......
You look at Conway, and nod. The soldiers reveal several guns, and start firing on the group of zombies. Taking the chance, you follow Conway through the gunfire. A few zombies attempt to follow you, but you're moving too fast for them. When you get past the hordes, the soldiers wave to you and open the helicopter doors. "GET IN!"
You climb into the helicopter after Conway, with a sea of rotting flesh at your heels. You slam the door shut, and hear the helicopter blades whir to life. "Come on! Let's get this bird off the ground!" shouts one of the soldiers. The helicopter slowly lifts off the ground, with a few zombies holding on for dear life to the bottom. They slip free once you're airborne.
| 3 |
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As these memories flood through your mind, you realize that it doesn't matter what he was. It just matters what he has become; and that's a murderer. He would drag the orcish armies into the grave with him, dooming Orcin to an eternity of rule by the Mannate Empire.
Galik laughs insanely as you step forward, and you drive the sword down…
In the last moment, Galik rolls to the side and the sword slams into the dirt. You pull, but the blade does not budge.
Standing, you cannot do anything before your foe slams into you. His fingers dig into your shoulder as he draws a dagger from under his shirt. He grins and chuckles as he lifts the blade up, intent on slamming it into your chest. The dagger gleaming in the sunlight, showing you your final moments…
Galik brings the knife down, your hand shooting up just in time. Grunting you twist and wrench the blade from his hand. Grabbing his shoulder you shove the knife forward into his belly, as it slides through surprisingly easy. Galik gasps, and his hands grip your shoulders.
You rip the dagger out and slam it back into him, this time some splatter decorating your forearms. On the third strike, Galik's knees buckle and he falls back, guided by your hand. As you kneel over him, Galik's hands grip your arms and shoulder.
> You stop
As Galik's weak hands clutch onto you, your fingers curl around the dagger tightly. But you toss it to the side, instead lifting Galik up and cradling him.
"Why did you do this?" you ask. "Greusim was my friend, I've known you since before you were born. Why couldn't you just wait for me to come back, we could have handled this together."
A weak grunt passed Galik's lips, and he pulls himself up a bit.
"I'm…sorry…"
The last breath passes between his lips, and his body goes limp. You sit there, letting out a heavy sigh. With a grunt, you lift up Galik's body, throwing him over your shoulder.
In front of you stands Grolik, a bloody dagger in his hands. He nods in understanding and steps to the side as you walk by.
You go down to bury your former friend by the river…
| 3 |
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With a heavy sigh… you lift the sword up, gripping it with both hands. Grolik doesn't even blink as you bring it down. But you step slightly to the side, slicing clean through the arm of the orc to your left who handed you the sword. He screams in pain as he falls over, and you run the second through the chest.
As you pull it out, you turn around just in time to deflect an attack from Galik. As you circle him and parry his blows, Grolik tackles the third orc, turning his own dagger towards him.
"You've made the wrong choice, old friend," Galik says. "I'm sorry."
You don't respond but, instead, block his swift attack. Galik fights with ferocity, but you match this with skill.
As you hook your blade onto his hilt, you turn and twist, Galik flies forward. He drops his sword for a moment but rolls and picks it back up. Behind him, Grolik and the other orc still struggle, the dagger on the ground and both of them in a deadly grapple.
Galik twirls his sword as you circle each other.
"Drop the sword, Galik," you say. "It doesn't have to be like this."
"Oh but it does. Remember, you chose this!"
The last couple of words are emphasized by Galik swinging his sword down at you. You easily dodge this and take a wide swipe, nicking his arm. Galik hisses and swings at your head, which you duck as you plunge the tip of the sword into his calf.
Galik cries out in pain and staggers back. You raise the sword before pausing, instead, taking a step back.
"You truly have gotten soft, Nolazir," he says. "What happened to the ruthless orc I used to hear stories about?"
"Do you really think I want to kill you?" you say. "You're the child of my dear friend Greusim. He was like a father to me, why would I want to kill any of his children?"
"You're just a weakling and a pathetic leader, Nolazir," Galik says. "My father would be disappointed in you."
With these words still in the air, Galik charges you, first swinging high but then veering low. With a cry you barely manage to escape, the tip of the blade slicing into your thigh. Gritting your teeth you slash his chest.
Not once, but twice and then three times; you swing the sword in a perfect arc of fury. Galik's face twists as he staggers back, clutching his chest. He raises his sword and stumbles forward, you easily deflect the strike and slam your foot into his knee.
Galik cries out and falls back, rolling to get away from what he thought would be a killing blow. As he looks up, you see the seething hatred in his eyes. His sword lays behind you, which he had dropped when you knocked him over.
"Well, what are you waiting for, Nolazir?"
You take a step forward, raising the sword. As you do so, you remember the first day that Greusim showed Galik to you; when he was but an infant wrapped inside a blanket. You remember the days of taking him out as a young lad, teaching him how to fish and about the plants and animals. You remember the closeness you used to share, before Greusim fell, and this wrath took him over.
> You spare Galik
He may have lost his way, overtaken with wrath, but surely there must be another way to handle this. You stop, and glancing around you see many orcs have gathered. They seem to be expecting you to finish Galik off.
Despite your brutal nature, you cannot bring yourself to do it. There is another way to handle this… he is just lost-
Something slams into you, forcing the wind from your chest, and as you fall your arms twist and you roll.
Stopping, you see Galik stepping towards you… twirling the sword, a smirk on his face.
You crawl back, lifting your arms up defensively as Galik raises the sword.
You cringe a bit as his arm twitches… but not for the reason you would expect. Another arm shoots under it and grabs his wrist, twisting it back and to his side. You pull yourself up, hands out just in case.
Galik snarls as he begins to struggle, but this is replaced by a gasp; his brow twitches and he drops the sword. He staggers forward and reaches his arms out, and as he falls you catch him. His face buries into your chest as he falls at an awkward angle.
Bewildered you look up to see Grolik, standing, a dagger slicked in blood in his hand. His brow furrowed, he looks up from Galik and nods at you.
Upon Galik's back you see a stretch of blood dripping down his back. The dagger wound placed expertly in his spinal column. Rolling Galik over and kneeling, you hold him off the ground somewhat. His eyes are blank and his mouth slightly agape, he did not suffer for very long.
"Damn it Galik," you say. "It didn't have to be like this."
A few orcs walk forward, nodding at you.
"Chief," one says, "we will take care of him for you."
"No," you say. "I'll handle it, let's untie the other orcs first though."
You walk with Grolik over to the orcs tied to the posts, the whippers having long since left. Grunting, you begin the work of cutting their bonds, several orcs coming over to help.
"Can't say we'll miss him too much," one says. "I know you were close to him, but he was a damn tyrant."
You sigh and continue your work. After finishing up, you hoist your former friend over your shoulders and go to find somewhere to bury him…
| 3 |
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"Yes Chief," you say, "bring one of these shields."
Luckily, one of the wagons happened to have a bunch of weapon and shield supplies in it. Galik hands the shield back to you.
"Gigalak will shield me," he says, "besides, I don't know how much longer this dressing will hold without my hand."
"I'll see this through to the end with you," you say.
As the orcs finish up the siege breaker, you all get into position. A few orcs begin the slow push, as Galik stands in the middle of it barking orders and taking cover. Raising your shield you get into the column, a couple of arrows already hitting and bouncing off your shield.
You all make a sort of wall with the shields, but many orcs are still struck down. Some of yours fire arrows over the shields and the siege breaker, a few even managing to kill or wound some of your foes.
As you get closer, you see the Red Handed preparing to charge. You brace yourself for their attack.
> You charge
You draw your sword, preparing it as you raise your shield. With a roar you go forth to meet them, arrows from the archers flying to the sides of you and taking down some of your foes.
This barely slows them down, and they meet yours. The orcs slow down the Red Handed, but as you duck, parry, deflect, and attack….the exhaustion is clearly written on your orcs. Almost a straight twenty four hours of combat and sustaining injuries seems to be taking it's toll.
You slowly and steadily retreat as your allies fall one by one. Ahead, Galik and the rest of the orcs at the siege breaker are being flooded by the Red Handed. Galik climbs atop the contraption as he makes his stand, cutting down any foe brave enough to try to face him.
Roaring, you and a few other orcs break your line to fight your way towards Galik. Most of the other orcs rally to you and help you to push forward.
Dodging a blow, you slice through an orc's face. He shouts out but before he can do much else you've already slashed his neck. As you lunge forward you parry a blow, slamming your blade straight through the offenders chest.
His arms flail in front of him, and as you wedge the blade to get it out his blood spouts from it. Another orc swings, his sword glancing off your cheek bone. Roaring in fury, you slash through his knee and he falls gripping his stub.
Galik slams his sword into an orc's skull, but it is in too deep for him to wrench it out. The orc falls and the sword slips from his grip.
"Galik!" you shout as you throw him your sword, and in one motion he catches it and slices through an orc's chest in mid climb.
Brandishing your axe you charge forward, cutting down several orcs in a fury, but not without sustaining some injuries yourself.
Panting and heaving, you climb onto the top of the siege breaker. The both of you stand back to back fighting off orcs, as the rest of your allies are swallowed up. As your weapon clashes with others, and blood is shed, you hear a gasp behind you.
Turning, you see there is a dagger wedged into Galik's knee joint. He falls and you reach out to catch him, but miss by a hair. Galik is dragged into the crowd of orcs, you slash, beat, stab, and jab at him.
You roar and slam your axe into the nearest orc. Before you can fall another, a flail flies forward, wrapping around your leg.
The orc pulls with a grunt, and steps back, dragging you off the glorified wagon. You howl in pain and rage as the surrounding orcs begin to stab you and beat your with their clubs and fists.
You meet much the same fate as Galik….
| 3 |
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| 6 | false |
You've traveled far the past three months total, gaining the support from large and small tribes alike. It has been tough convincing some, but others are far more agreeable. From the reports you've heard, it's put much less pressure on your army, for now.
On the downside, Galik and Grolik have managed to engage the Mannate Empire in some larger skirmishes than you would have liked. Rolomag and the other more reliable orcs haven't been able to keep them in check as well as you had hoped.
As you ride on, one of the coastal villages comes into view. The sun bearing down upon you, in the distance you see a number of orcs. Some seem to be fishing with nets and spears, and some seem to be enjoying the sun. A few unsurprisingly wrestle in circles made of seashells.
Several wooden boats float lazily among the waves. One orc saunters over to you, his skin a much darker shade of green due to generations of living out here. Yours is a much lighter shade of green. The orc stops several feet away from you.
"Who are you?"
"Nolazir."
His eyebrows arch and his eyes widen a bit. A small grin spreads across his face.
"I have heard of you, fighting off the humans. Making your rounds to many of the villages and tribes. That is why you are here?"
"Yes."
The orc chuckles as he leads you toward the village.
"I don't think we'll be able to help you, friend," he says.
"All of us are at stake," you say. "We need all the people we can get."
"We're having our own issues. We can't save everyone else when we can't even save ourselves."
You grunt, scanning the area. Nothing seems to be happening.
"What's your name?" you ask.
"Silak," he says, "I just do the fishing around here. The chief is inside."
He gestures into a small wooden hut. You nod to him in thanks and step inside, the old wood steps creaking a bit.
Half of the hut is dark, the rest illuminated by the sunlight entering between the wooden beams above. Some tarp seems to be covering the rest of it.
You stop short as a figure steps out of the shadows, an orc with several wrinkles on his face. His raven dark hair contrasted by a multitude of grey hairs throughout. His face turns up into a weary smile. His dark green skin hiding him well, until he steps into the rays of light.
"Welcome, friend," he says. "I am Chief Hidius."
"I am Nolazir."
It is just then that you notice the severe burn marks covering Hidius' body. His face, from what you can see, is even a bit distorted.
"I know why you are here."
"Will you join me?" you ask.
"No."
"But-"
"Walk with me."
The chief puts his hand on your shoulder, slowly leading you outside. As you step into the sunlight, you realize Hidius injuries are more severe than you thought. It appears as though his nose has been smelted off of his face. You're surprised that his hair is still growing though, which should not be possible.
"How... is your hair still growing?"
"A rude question to ask of my deformities."
"I'm sorr-"
"No. It's alright, no one has asked in a long time, some around here know the story. Others think it's crazed nonsense."
Hidius waves a hand to change the subject. He stops and gestures to the village and the waters ahead.
"Gigalak gave us these lands and these waters so that we could live wild and free. The Mannate Empire wants to take that from us."
"So help us stop them."
"We can't… I can't," Hidius says. "I am dying and so is my village."
"What do you mean?"
"We've been cursed, you see, as made apparent by my condition."
"That's nonsense," you say. "Taking heavy burn wounds isn't going to damn the rest of the village. Besides, they look fine to me."
Hidius chuckles.
"It won't be today, or tomorrow, or even a decade from now, but we're all doomed. I've seen it."
Hidius closes his eyes and takes a deep breath.
"Whether or not we stop the Mannate Empire… something far worse is waiting to take us into a grip of fire."
"Stop this," you say, "and tell me what you mean."
"Nothing we really do this day matters anymore, I have seen it."
You take a deep breath and try to stop yourself from shaking the older orc in frustration.
"No matter what is going to happen, you can't just lay down and die."
You gently put a hand on his shoulder and turn him around to face you.
"We're orcs damn it, and we fight everything that gets in our way. Living, dead, hell, Empire, whatever it may be. We don't just lay down and die."
The chief smiles slowly.
"While that may be true of you and yours, I am old and tired of fighting. I've seen enough horrors to last one thousand lifetimes. Our time is useless."
> You say "Stop Moping"
"Listen, Hidius," you say. "You need to stop moping around and do something. The only thing that is going to doom you and your tribe to extinction is this attitude of yours."
Hidius' eyes widen in surprise at your words.
"Even though you've been through much, they all look up to you. You need to be their guiding hand, show them how to live a life by example, show them how to defend it too."
"I can't- there's no way we'll ever stop the oncoming darkness-"
"Enough of that talk, it's spreading to everyone here. The second thing that came out of Silak's mouth was this doom and gloom shit."
Hidius looks down for a moment.
"Perhaps my suffering has made me weak, when it should make me stronger."
"Yes, look. They all need you. We all need you," you say.
"Fine." Hidius clenches his fists. "I will gather my forces and take them to meet your army."
"Be quick. The Mannate Empire is becoming a faster and larger beast every day."
Hidius nods and calls over a group of orcs. You can't hear what he says but they all split up to gather more orcs, so you can only imagine that he is keeping his word.
As you ride off into the burning rays of the sun, you hope that your words actually got through to Hidius.
You ride on, to where you think the next tribe should be. Perhaps you will find somewhere to hide from the sun for a bit first…
| 4 |
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| 9 | false |
You’re too chicken shit to actually commit suicide so you decide you need to escape from your sorry existence in a more “chemical” way, namely drugs.
Unfortunately you’re such a damn loser that you’re completely clueless to who’s selling the shit in school, or even your suburb. Unless you want to go down to DA HOOD, even you know that where ALL the drugs come from. Of course there are other options like household inhalants.
It’s a big wide world out there just waiting for you to find something to get fucked up on!
> You find something in the house
You’re still not motivated enough to leave your room, but you are motivated enough to go over to your unfinished Dungeons and Dragons diorama and sniff your modeling glue.
You undo the cap, shove the tube up your nose and inhale deeply! Whooo! What a rush!
You immediately start to hallucinate, and forget about all your so called problems. In fact you pretty much forget how to act altogether…
You suddenly think that you’re a magical elf who must slay the evil dragon with your mighty sword! To get better prepared for this, you strip off all your clothing and run out of your room holding your uh…”sword”.
As you go running around your house like this, you encounter a bellowing ogre!
“Boy, what the fuck do you think yer doin’ running around bare ass naked?!” it yells.
“What’s going…what the fuck?” its wife says after coming into the room.
The ogre charges at you, but you manage to dodge the attack causing him to smack his head against a table when he trips. The ogre’s wife attempts to hold you down, but in the ensuing scuffle you manage to stab her once in the mouth with your sword and then run away, while she’s recoiling from your attack. Just in time too, because the ogre is recovering.
“YOU SICK FUCK, I’M KICKING YOUR ASS!” it yells.
You run back to your hideout and barricade the door, which the ogre attempts to knock down. You see no escape until you realize the window! You can use your spell of flight!
You quickly cast your spell and then open the window. Just as the Ogre breaks down the door, you make your escape to freedom!
A few hours later the coroner comes by to scoop your body off the sidewalk. On the plus side, you won’t have to go through the progressively worse brain damage you would’ve undoubtedly suffered by continuing to sniff glue and other such products.
The moral of this story?
Sniffing inhalants might be a nice cheap high, but you can do some seriously crazy shit while under their influences. Don’t be a lazy ass. If you want to go get fucked up for cheap just raid your Dad’s liquor cabinet or get an older stranger to buy you some beer.
And now you know!
| 4 |
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| 12 | false |
WARNING! (The fake one)
This story contains mature subject matter concerning teens and is meant to help said age group “experience” a problem they may encounter in their life and show the consequences of their actions if they handle it in the wrong way. There will be separate sections for boys and girls for as we all know, both genders experience different struggles during their precious formative years.
If you are a pre-pubescent, you should NOT be reading this story, you should be in bed. Such mature subject matter is not for your tender young eyes.
If you are an adult and you are a parent, perhaps you should “experience” this story with your teen, for they may still have further questions about the subject matter. Questions that you should provide answer for, because if you do not they may learn the wrong answers from their peers, the streets, minorities or even (gasp) the evil dirty internet!
If you are an adult and NOT a parent, get the fuck out of here. You probably just want to “play” the girl path and choose all the slutty choices, you fucking pervert.
It is the hope that this story may somehow help teens better deal with the problems found in this story in real life. And remember if you do turn out to be gay (boys) or sexually loose (girls) it doesn’t make you a bad person. It just means you’re going to die of AIDS and burn in hell.
Now what gender are you?
> You female
You are a typical female teen…well maybe not entirely typical. In your current state you aren’t very popular in school. Sometimes you feel left out of things, particularly social gatherings, and boys don’t seem to notice you at all. Maybe being popular would makes things easier and make you happier, but then you also wonder if you even belong here, as you have a hard time relating to people sometimes.
Well, what are YOU going to do about it?
| 3 |
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| 8 | false |
"Who exactly are you?" You text him, as he never really got around to answering your question.
"You can refer to me as Nick, that's the name I use to go by online so that's the name you can call me. As to who I am, I'm someone who is need of your help, but in return, I can offer you something you want, and maybe also save your life if what I think will happen is true."
Well at least he was forward with his name, but the second part only stirred more questions into your head.
> You how did you find you\?
"How did you find me on that forum, that shit was supposed to be anonymous?"
"Trade secret, can't inform you on that sorry. Don't worry though your class probably has its own secrets of its own. All part of the job."
His answer only led you to more questions to pop up into your head with confusion.
> You quotas
"What did you mean by quotas?"
"It's the system that makes our world go round, it's the purpose for those of our kind. Question is in which I'm curious, as to why you haven't received one yet and why you haven't had the symptoms of not fulfilling yours, most of us get one once they're around your age at least once."
He stopped with that message as if signaling for you to ask another question.
| 2 |
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| 6 | false |
Very suddenly, the man jumps to his feet, knocking the chair he was sitting in to the ground behind him. As it clangs into the ground, his hands rise up, one with a fork and one with a dinner knife. You turn your hips and move quickly to avoid the very sudden slash with the knife across your midsection.
The man moves cautiously with his knife held out in front of him. As his feet shift on the ground, you realize that he looks quite skilled with the improvised weapon. Your mind travels back to your training in the warehouse and you carefully watch the knife, his arm, and his eyes. You are not sure what he will do next, but he is clearly watching you carefully, looking for an opening.
The two other couples at the cafe get up and scramble away from the tables and chairs. You do not take your eyes from the now armed man in front of you. A serving platter crashes to the ground as a waiter appears and then quickly runs back into the restaurant. You know it will not be long before he summons help in the form of the local police, who you probably do not want to meet right now. The man circles and moves towards you and you can tell he is about to make another strike with the knife.
> You stand and take the hit, then punch the man in the throat.
You see the blade coming, and you move towards it, hoping to surprise the man. By cutting off his expected flow, you imagine that he will not be able to slide into you where and when he expected. You cock your arm back, ready to knock him to the ground when he misses.
> You continue...
The man stabs with his knife and his face shows surprise when you move towards him. Instead of stabbing you, the knife hits nothing but the space behind you as his arm strikes you. You react quickly and punch the man in the throat. You hear the knife clatter to the ground behind you as the man gasps for breath. You move quickly and pick up the knife. When you turn back you see the man has run off and has headed down an alley next to the coffee shop.
Looking around, you see that there is no one else in the area, others have cleared out. In a second-story window you see a woman staring out the window at you, her arms crossed. You hear the sound of sirens in the distance and figure you should get moving. There is an alley near the coffee shop and you take off down it at a run, deciding the only place you can head now is the hotel.
Note: You had a 90 percent chance of winning that battle.
| 3 |
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| 4 | false |
You decide to follow the map towards the contact and the coffee shop. From the airstrip, you drive around a few hills and in the direction of Havana. Driving down the hills, you see the city start to unfold in front of you and can easily follow the map towards the coffee shop.
When you arrive, you notice there is plenty of parking and not that many cars around. Instead there are a number of people on mopeds and motorcycles and a few older cars. There are a few small delivery trucks driving around as well. You find a space on the side of the street and park the car.
You wait in the car for a few moments and watch the people around you. Most of the people around appear to be in a hurry, or at least have a purpose. Across the street there are a number of round tables with umbrellas outside the coffee shop where you are to meet. There are two couples sitting at tables there, drinking coffee and a single man with blonde hair and a bushy mustache sitting by himself. You guess that he must be your contact.
Taking one last look around, you step out of the car. You pause to let a mule pulling a wagon travel along the road before you cross towards the coffee shop. It appears that there is no one else watching as you make your way across the street. You walk up to the blonde man sitting alone.
You say:
> You is the coffee any good here?
The man replies, "It is good, but not as good as Kenyan coffee."
You say:
> You but you like Kenyan tea.
The man looks nervous at your response and you can see sweat suddenly break out on his forehead. He looks around at the street and quickly glances up and down the street. He slowly slides his chair back from the table and continues to glance around. He looks back at you and rises to his feet. He fiddles with his cup and his napkin for a moment, looking down, then moves suddenly.
He shoves his cup off the table and it crashes onto the floor. He makes a move in your direction and you tense up in defense. Then he shifts and moves to the side, quickly running past you. He knocks a chair over as he reaches the street and takes off at a run down the street before you can stop him. The two couples at the other tables look over at you, as if waiting for you to explain the man. You look after him and shrug your shoulders.
In a moment his has vanished from sight. After a pause, the two couples go back to their conversations, ignoring the man and you. Looking around, you don't see anyone else that appears interested in you or the man. With your contact gone, you are not sure what you should do next. You look at the man's abandoned table, but then decide to go back to your car.
| 4 |
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| 3 | false |
You head towards the door. The man has started to pull some papers out of the desk and is reading them. He ignores you as you open the door only to be assaulted by the sunshine once again. There is a wave of heat coming off the runway that catches you by surprise, but it is quickly washed away with a gentle breeze.
You walk down the stairs and towards the plane. As you approach, a man dressed in a uniform steps from around the side of the plane and gestures towards the entrance, welcoming you to the plane. You move up the steps and into the plane. Inside the plane is clearly a luxury craft designed for the rich. There are four swiveling captain's chairs, wood grain cabinets, and a number of flat screens. You take a seat and sink into the soft leather of the chair.
The man in uniform steps onto the plane behind you. He says, "Sorry, but due to secrecy, there will be no flight attendant on this flight. You can sit anywhere, and I suggest you keep your seat belt on at all times." It then that you notice there are seat belts in the leather chairs. The man continues, "The flight should be over in a couple hours. I would announce when we're landing, but it will be pretty obvious. Enjoy your flight."
Without pausing for questions, the man pulls up the stairs, closes the door, then steps into the cabin. The door to the cabin closes with a click and you are alone in the plane. A few moments later you hear the jet engines start up. You wait for the announcements that never come and the plane starts moving. A minute later you are pressed back into your seat as the plane speeds up down the runway.
You sit back and relax in the seat, planning to get up and explore the plane soon. Before you know it, you are out cold, enjoying the comfort of the seat. You awake with a start when the wheels of the plane touch down onto the ground once again. You look around quickly, trying to re-orient yourself as the plane taxis to a terminal. Looking out the window you see a small shack at the side of what looks like a very new runway. The plane moves towards the shack and in no time the captain comes out of the cabin. Without a word he opens the door and puts down the steps. He stays on board the plane and gestures you towards the exit.
Stepping outside, you feel the humid heat wash over you. The sun is shining brightly, and you can only assume that you are in Cuba. Blinking in the sun, you can see an old sedan parked next to the hut. You start walking towards the car and you hear the door slam shut behind you. The plane is already in motion before you make it to the car. You shrug and figure that it's too late to back out now.
The gravel crunches under your feet as you walk towards the car. There are bits of dust in the air and you can see a long dirt road headed in two directions from the small hut. Walking past the hut, you don't see anyone in the building at all. In fact, it looks like it has been abandoned for some time now. When you arrive at the dark blue car, you look inside and can see a set of keys sitting on the seat. Next to the keys are a map with four locations circled in red. You can tell that one is a runway, apparently where you are now. The second is in town, so that must be the coffee shop. The third looks like an estate on a hill, which must be el Martillo's house. The last is a large building and the only one labeled on the map, and it is labeled, "Hotel Melia Habana."
You open the door and get in the car. The keys do indeed fit the ignition and the car starts up easily. The gas tank indicator shows full and you have to decide what to do next.
> You search the vehicle, just to be safe.
You climb out of the car and head for the rear of the vehicle. You fumble with the keys a moment, then find the one that appears to open the trunk. The key fits and the trunk opens with a loud thump. The springs are old, so you have to push the trunk lid up to get it to open.
Inside the trunk is old and quite dusty. Most of the inside is covered with dust and the spare tire looks like it doesn't have any air in it. There are three items that look brand new without a drop of dust: a clothing bag with an elegant black suit, a briefcase that is full of a number of different mechanical and electrical parts, and a large ammo box with weapons and ammunition.
Before you can start looking through the items, you catch some movement out of the corner of your eye. Looking back down the long dirt road, you can see a dust trail rising. The sound of a military Jeep can be heard echoing across the runway. The Jeep is headed down the road towards you and there doesn't appear to be anywhere else it could be going, except where you are. You have only a moment before you need to get away, so you can grab one item from the trunk now, and then you must get into the car and drive.
> You grab the clothing bag so you can have the fancy suit.
You jump back into the car and turn the key. The car starts right up again and you back out of the parking space. The Jeep continues to head in your direction, you're not sure if they have spotted you yet. You take off the in car and head in the opposite direction, down the dirt road. As you drive, you leave a large cloud of dust and you realize the occupants of the Jeep have seen you!
You speed up and hope the road isn't a dead end. The dirt road is mostly straight, but starts to turn after half a mile or so. The road leads through some brush and low trees and heads for the buildings of a city. You struggle to keep the car on the dirt road as it twists and turns, but you stay on the road. You are glad when you see the dirt road turns into pavement as it nears the town.
You slow down a bit when you read the pavement and the small buildings and houses, partially to stay on the road and partially to ensure you don't hit any of the people in the area. Looking back you can see the Jeep is farther behind you than you thought it would be. The tires on the car squeal as you take the turns on the road, putting more distance between you and the Jeep.
You slow down some more and continue to make a number of different turns passing houses and small businesses. There are a few people sitting around on the sides of the road that watch you as you pass. After a number more turns, you realize you have lost the Jeep. You pull over to the side of the road and consult the map.
You are somewhere nearing the center of downtown Havana. You can see the markings on the map for hotel Melia Habana. After a few moments, you can tell about where you are on the map now and you can see the roads that will lead you to downtown.
> You drive to the hotel Melia Habana.
You arrive at the hotel and take the suit with you as you head into the hotel. Looking at the suit, you can see that it is truly a quality suit. You know that you will look good in the suit and others will surely notice that as well. When you tell the counter help your cover name, they provide you with a key to a suite on the top floor. You take the elevator to the room and step into the bathroom to put on the suit. You do indeed look good and the suit fits perfectly.
| 4 |
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| 12 | false |
You step to the doorway and look into the room. It is a very dimly lit room, so you have to look carefully to see the contents. There is a spotlight shining on a small brown box in the center of a table on the far side of the room. Most of the rest of the small room is in darkness, other than what is lit by the light coming from the main warehouse. You can see through the door it is exactly as the British gentleman had described.
The entire room is about 15 feet square. There is a man standing, arms crossed in front of him, in front of the table. He has a large knife in one of his hands and you cannot be sure in the shadows, but perhaps a firearm strapped to his waist. He is staring off into the distance and is facing the wall to the left, so that you are looking at his left side. You cannot see anything on that wall where he is looking, but he does appear quite focused. The floor of the room is in darkness and you cannot really see anything else in the room. The box on the table is quite clear at this point...
> You walk up to the guard seductively and wink...
You move into the room and step to the left, trying to stay in sight of the guard. You smooth your shirt and nod in his direction. He spots you and tenses up. You raise your hands to show that you are not a threat to him and start complimenting him on his size and ability to guard...
> You continue...
You wave to the guard, holding your hands up. As you do, he unfolds his arms and holds the knife out in an attack posture. You talk to the man and attempt to keep him off-guard. You nod often, trying to get his to nod with you, to get him on your side. As you speak, you attempt to casually work your way around to the table. You compliment the guard as you reach behind your back and pick up the box. As you attempt to move back to the door, he steps in front of you. You work to talk your way past him, but as you move, he stabs out with the knife, splitting your ribs. You feel the pain as the knife goes through your chest and the tip stabs into your heart. You hear the box drop from your hands as you fall to your knees, your life quickly draining from your body.
It would seem that you have failed your challenge. In the high stakes world of spy vs. spy this means that you have been killed. This is not the best way to end this story, but sadly, this is how your story ends. Sorry about that! Thank you for reading! Feel free to try again.
You had a 10 percent chance of winning that battle.
| 4 |
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| 4 | false |
You step to the doorway and look into the room. It is a very dimly lit room, so you have to look carefully to see the contents. There is a spotlight shining on a small brown box in the center of a table on the far side of the room. Most of the rest of the small room is in darkness, other than what is lit by the light coming from the main warehouse. You can see through the door it is exactly as the British gentleman had described.
The entire room is about 15 feet square. There is a man standing, arms crossed in front of him, in front of the table. He has a large knife in one of his hands and you cannot be sure in the shadows, but perhaps a firearm strapped to his waist. He is staring off into the distance and is facing the wall to the left, so that you are looking at his left side. You cannot see anything on that wall where he is looking, but he does appear quite focused. The floor of the room is in darkness and you cannot really see anything else in the room. The box on the table is quite clear at this point...
> You run up to the guard, take the weapon and kill the guard...
You pause at the door, but then move quickly. You head straight at the guard. He spots you before you reach him and he starts to turn towards you. You reach out for the knife, attempting to take it from him before he can strike out at you...
> You continue...
You dash straight at the guard. He turns as you reach him, but before he can get the knife around, you grab his wrist. You both struggle for the knife and twist and turn. You grab his wrist with your other hand and pull, trying to twist the knife out of his hand. It is then that you feel a sudden pain in your back! The guard had another knife, and now that knife is stuck in your back. You let go and reach back for the knife and the guard stabs you in the ribs with the larger knife. You don't know whether to reach for the knife in your chest or your back, but it doesn't matter as your life quickly drains from your body.
It would seem that you have failed your challenge. In the high stakes world of spy vs. spy this means that you have been killed. This is not the best way to end this story, but sadly, this is how your story ends. Sorry about that! Thank you for reading! Feel free to try again.
You had a 10 percent chance of winning that battle.
| 3 |
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| 3 | false |
You move quickly around the van, thinking that this is just stupid. Even a kid from grade school can watch you run away from them and see where you are. You get around the other side of the van and stop. The man is in front of you. He says, "You need to work more with the shadows and the light." He points out the different ways the light move and the shadows are formed in an around the van. He shows you many other ways you can blend into the shadows by using your body, the light, and natural lines.
The man looks at you and says, "We have time for just one more training session. I can teach you more details about what you already know, or I can teach you a different skill, the choice is up to you. And yes, there is going to be a test at the end of this. It will be a real test, and you might not survive. But I hope you do. So what do you select for you final training?"
> You charm training
The man takes you to a wardrobe that sits in the corner of the warehouse. He starts pulling out different types of clothes and shows you how and why they are different from one another. He shows you different types of materials and styles of shirts and suits and explains when and where the different types should be worn and who they will impress. He spends some time showing you how you send messages non-verbally and how to focus those messages so you are more clearly communicating with someone, even when they don't realize it.
The man looks at you and says, "We are out of time. You are either ready or you are not ready. And that is what we will determine now." He turns and walks over to a door in the rear of the room and disappears through it. You are alone in the large warehouse, wondering if you were supposed to follow the man.
You have trained the following levels of skills:
Stealth: 2
Charm: 1
Weapons: 0
| 4 |
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| 5 | false |
Whump! You bend over in pain as the main punches you hard in the stomach. Your eyes open wide and you gasp as you try and get air inside your suddenly collapsed lungs. The man says, "I see you. You suck at hiding. Want to try again?"
You aren't sure that you like this method of training. You assume that you're supposed to do something, but you don't really know what. You figure if you're going to continue this training that you need to at least move away from this crazy man who is attacking you. But then maybe that is the point -- to learn by doing. This seems a little odd because you haven't actually been given, well, any instruction at all, but you don't have a lot of choice at this moment. You don't have a lot of options here in the open space of the warehouse, but you do have some choice...
> You put your hands up and compliment the man.
You brace yourself for another slap, and open your eyes when you see that he's not going to slap you right away. The man says, "That's a good start. Always work with compliments, because nearly everyone, even trained spies, respond to compliments." He spends a bit more time telling you different ways to give the compliments and how to really sound sincere. He gives you some tips on what kinds of compliments tend to work in different situations and how you can talk yourself out of nearly any bad situation.
The man looks at you and says, "We have time for just one more training session. I can teach you more details about what you already know, or I can teach you a different skill, the choice is up to you. And yes, there is going to be a test at the end of this. It will be a real test, and you might not survive. But I hope you do. So what do you select for you final training?"
> You stealth training
The man leads you over to a large table along the wall of the warehouse. Spread out across the table are a number of different types of gadgets and devices. He takes the time and shows you how to use some simple items to pick a lock and how to disable a security system. He shows you how you can use some of the gadgets to help you distract people and allow you time to move about without being seen or heard. He shows you simple ways to break into place and more difficult ways to bypass security systems and other types of systems designed to keep you out.
The man looks at you and says, "We are out of time. You are either ready or you are not ready. And that is what we will determine now." He turns and walks over to a door in the rear of the room and disappears through it. You are alone in the large warehouse, wondering if you were supposed to follow the man.
You have trained the following levels of skills:
Stealth: 2
Charm: 1
Weapons: 0
| 2 |
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| 10 | false |
You brace yourself for another slap, and open your eyes when you see that he's not going to slap you right away. The man says, "That's a good start. Always work with compliments, because nearly everyone, even trained spies, respond to compliments." He spends a bit more time telling you different ways to give the compliments and how to really sound sincere. He gives you some tips on what kinds of compliments tend to work in different situations and how you can talk yourself out of nearly any bad situation.
The man looks at you and says, "We have time for just one more training session. I can teach you more details about what you already know, or I can teach you a different skill, the choice is up to you. And yes, there is going to be a test at the end of this. It will be a real test, and you might not survive. But I hope you do. So what do you select for you final training?"
> You weapons training
The man leads you to a table along the side of the wall of the warehouse. The table has a number of small weapons on it and some other devices that you cannot recognize. He shows you how the smaller weapons work and how you can make them on your own. He shows you a number of the other devices and how they can be combined to make different types of explosives that can be used for different purposes. He explains how to focus and aim both the improvised devices and the explosives so that you do not get hurt yourself.
The man looks at you and says, "We are out of time. You are either ready or you are not ready. And that is what we will determine now." He turns and walks over to a door in the rear of the room and disappears through it. You are alone in the large warehouse, wondering if you were supposed to follow the man.
You have trained the following levels of skills:
Stealth: 1
Charm: 1
Weapons: 1
| 3 |
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| 4 | false |
Your ears are still ringing as you run around the rear of the van and do indeed find a tire iron right inside the back doors. You grab it and turn around to see the man standing there, nodding his head. He reaches out and adjusts your grip on the tire iron, explaining why holding at the different location can give you better leverage. He also shows you a number of other different, common items in the back of the van that could be used as quick, improvised, and deadly weapons. He shows you a few places to strike people that will work better to stun or disable them long enough for you to escape, should the need arise.
The man looks at you and says, "We have time for just one more training session. I can teach you more details about what you already know, or I can teach you a different skill, the choice is up to you. And yes, there is going to be a test at the end of this. It will be a real test, and you might not survive. But I hope you do. So what do you select for you final training?"
> You charm training
The man takes you to a wardrobe that sits in the corner of the warehouse. He starts pulling out different types of clothes and shows you how and why they are different from one another. He shows you different types of materials and styles of shirts and suits and explains when and where the different types should be worn and who they will impress. He spends some time showing you how you send messages non-verbally and how to focus those messages so you are more clearly communicating with someone, even when they don't realize it.
The man looks at you and says, "We are out of time. You are either ready or you are not ready. And that is what we will determine now." He turns and walks over to a door in the rear of the room and disappears through it. You are alone in the large warehouse, wondering if you were supposed to follow the man.
You have trained the following levels of skills:
Stealth: 1
Charm: 1
Weapons: 1
| 3 |
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| 9 | false |
Walking back up to the boy, you could see that he was still sulking, although he had stopped shaking so at least that was good.
You crouch down to his level and start to speak.
> You stern
"Alright listen up kid, the girl was right, do as you're told and we'll get you out of this hellhole, but don't fuck around or else you'll be staying here for the rest of eternity, and I'm not lying when I say that."
The boy starts to quiver again as he continues to look down at his knees.
> You press on
"Answer me, boy, do you agree to these terms."
"Y-Yes." He whimpers silently.
A nasty smell comes to your nostrils, and the color of the boy's skin starts to turn a dark rotten green, which makes you wince in disgust.
"Alright then, tell me about yourself, how did you die?"
"I drowned in the lake..."He says in a light voice.
"Yeah well no fucking shit, I was hoping you'd be more fucking specific, who let you drown, were you here alone?"
The smell gets worse, you want to pinch your nose and get out of here, but you continue with the questions as the boy shakes harder.
"Leave me alone..."
"Excuse me?"
There's a sudden second in which the boy disappears from your eyes, and seconds later you start to feel a pain from your chest.
With each passing moment it grows stronger and stronger, and before you know it you let out a yell in pain as you fall onto your back.
"Hey!" You hear Ruby shout out to you, but your ears start to ring as you wreathe around the wooden dock in pain.
It feels like something wants to burst out of your chest, and you want nothing else more but to die and get rid of the burning sensation that was cooking your heart like a cracked egg.
Something did burst from your chest, you were sure of it. You wouldn't see it though as your vision had gone out first.
Shortly afterward your senses followed with it.
| 4 |
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| 12 | false |
You punch him and turn to run as fast as you can to try getting him off your heels
Your move apparently caught him off-guard, and this has given you a small distance, but you should choose where to go to, quickly.
You may try running straight ahead the street you are at, which is pretty big and crowded, hoping the man will not start shooting everything on sight to get you, or turning to one of the smaller streets left, with less people and probably better places to hide at
> You try the side streets
Well, that was a bad move. Sure they were smaller streets, but since there weren't enough people complicating his task, the suited man managed to follow you all the way to a dead end where no one else was present, shooting you dead right there without any more ceremonies
Ouch :(
END
| 3 |
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| 12 | false |
Well you didn’t get to be a basement dweller by being adventurous so you read the instructions first. Good thing too, there’ a bunch of safety precautions to the car. Namely due to the extremely high levels of asbestos in the car, going in it without a hazmat suit would be fatal. Fortunately you just happen to have one. Unfortunately you only have one, which means that any lady that’s remotely impressed by it won’t be able to get in the thing without dying shortly thereafter. So unless you plan on becoming a necrophiliac, you have to come up with a new plan. (Though becoming a necrophiliac is plan B)
As you’re suiting up, you think about how you’re going to impress possible ladies with the car, without actually letting them get in it. You got it! A stunt! Chicks like daredevils right?
You got a bunch of compost in the backyard, A LOT. You get the idea to take that compost and put it in the middle of the street, set it on fire and then drive through it!
Enthusiastically you start grabbing compost and going through with your plan. It probably would’ve been a better idea to at least use a fuckin’ SHOVEL on the compost instead of picking it up with your fuckin’ hands you silly motherfucker. Oh well at least you’re wearing a hazmat suit
Anyway you smell REALLY awful and you’ve just made the entire block smell that way too, when you light it on fire. This act has finally come to the attention of all the neighbors who are giving you holy hell about it.
“Jesus fucking Christ! It smells like a dead bum who just sprayed diarrhea on himself during a heat wave!” one of them shouts.
An angry mob is starting to form…
> You calm the mob down
You attempt to calm the mob down; by saying this’ll be the coolest stunt ever! The mob disagrees and proceeds to disagree with you in a physical way!
They smash you in the head with a few bricks and frog stomp you, then they take some of the compost (Using a shovel) and cover you with shit.
Then they proceed to destroy your car. The jokes on them though! By pounding and beating on the car they cause a lot of asbestos flakes and dust to go flying into the air which they breathe in, since there’s a lot of heavy breathing going on. (It IS a tiring job after all)
They all eventually get cancer from breathing in this toxic substance and die.
Of course you don’t get any enjoyment from any of this, because you’re in a coma.
| 2 |
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| 8 | false |
The first thing that you notice when you start to wake is that you are lying down on something hard. The next thing you notice is how much your head hurts. If feels like your head has been in a pinball machine. As you reach up to touch it, you hear a deep voice say, "Oh, sorry about that headache. It will go away soon, but until then it's going to hurt quite a bit. A minor side effect of the drug, you know."
You open your eyes and start to sit up. It feels like a horse has kicked you in the head as you manage to start to sit and open your eyes. You find that you are sitting on the floor of the black van and the side door is open. You spin around and put your legs out the door but don't stand right away as you press your hands against your head to try and reduce the pain. Fortunately, opening your eyes doesn't seem to make the pain any worse and you take in the man outside the van.
The man is short, bald, and dressed in black pants and a tight black tee shirt. You can see cargo pockets on the pants that hang down as if they are not empty. The tight tee shirt reveals that the man has more than a few muscles. He has small, dark eyes that are set deep into his head and a strong forehead. He has a dark stubble around his chin. When he smiles, you can see he is missing at least one of his teeth. He smiles and nods as you take him in.
He crosses his bulging arms in front of his body and continues, "So yeah, we had to knock you out because you didn't need to see where we are just yet. You know, secret and all that stuff. And before you ask, no, I don't know why you were selected. That's above my pay grade. They tell me you're coming, and I take it from there. So you ready to get started?"
You look up with confusion on your face and think of any number of different responses from one-word responses, to anger, to being incredibly sarcastic. Before you can put the words together to respond, the man continues.
"Okay, you're confused. I get it. Sometimes people are prepared for this, sometimes they're not. And some people can't make it through the training, while other times they can. I don't feel like giving you the long story, so you're getting the short story. Here it is: "You're in training be a spy. You get to decide the best way for you to do that. The training starts as soon as you get up off your lazy rear end. And at any time if you decide this isn't for you, you can go home. Of course, we will wipe your memory and you likely won't remember any of this, but that's your choice. Your other options? In this facility we teach stealth, charm, and weapons. So you pick one and we get started, or you choose to go home and I zap you. Got it?"
You look around and past the man and you can see that you are in a large warehouse with a high ceiling. There are a few doors along the far wall that appear to lead into smaller offices. Off to the right is a garage door, obviously where the van came in. The space off to the left is wide open, but there are some obstacles and the floor and some chains and rope hanging from the ceiling. The man snaps his fingers as you look around and says, "Hey, you with me here? We don't have all day."
> You agree to charm training.
Whap! The man slaps you in the face and your cheek stings. You blink your eyes as you consider what just happened and the man says, "Well? Now what? How do you react? What are you going to say next?"
You aren't sure that you like this method of training. You assume that you're supposed to do something, but you don't really know what. You figure if you're going to continue this training that you need to at least move away from this crazy man who is attacking you. But then maybe that is the point -- to learn by doing. This seems a little odd because you haven't actually been given, well, any instruction at all, but you don't have a lot of choice at this moment. You don't have a lot of options here in the open space of the warehouse, but you do have some choice...
| 4 |
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Your eyes blink open and you look at the ceiling. It is a boring white, like all these apartments, but you're pretty sure it hasn't been painted in 10 or more years. You blink and sit up. At least you don't have to go to work today. Instead, today is relaxation day. First you need to head to the store to stock up on some food, then all bets are off!
You open the door to head downstairs. The day does not match your mood: it is cloudy, cool, and windy outside. In fact, the clouds are getting darker and rolling across the sky as you watch them. You better hurry and get your supplies and get back, or you're sure this storm will catch you. You trot down the stairs and head into the back lot to your car.
You start to pull out and slam on your brakes when another car starts to back out in front of you. That was close. This is a big apartment building, but you recognize that giant car as that of the old lady who lives on the first floor and does everything slow. You slowly follow her out of the parking lot and are glad when she turns the other way.
You are headed towards the grocery store, but when you take a right in the middle of town, you hear a loud "pop" and feel the car slide underneath you. You limp the car over to the sidewalk and get out to see that yes, you now have a flat tire. That's the second one this year, and you just remembered that you didn't replace your spare since the last time.
Fortunately, you have AAA, and you can call them to help you. The overly nice AAA guy on the phone tells you that it will take about an hour, but they'll be there. You sigh and lean against the hood, thinking about all the food you were going to buy, but will now have to wait.
As you're sitting there, a black four-door car slams it's brakes on next to you in a squeal of tires. The back door pops open and you can see a skinny man inside in a dark suit and dark glasses on the far side. He calls out to you, "Get in."
> You wait for the tow truck...
You are standing in town next to your car with a flat tire. A car drives past every now and then, but there's not a lot of activity going on right now. The clouds have started to break up, but it would be a stretch to call it a sunny day yet. At least it's not hot.
There are two store fronts here where you are standing, a Mailboxes, etc., and a local coffee shop. There is no one in the Mailboxes store, but there are a few different people wandering in and out of the coffee shop, like any other day in any other town.
> You go into Mailboxes, etc...
You find yourself inside the lobby of a 24-hour Mailboxes Etc. store. At the moment, there appears to be no one here. There is a counter with a number of ads and hand-written papers advertising discounts for various types of mailboxes and terms. There is even a scale for weighing mail. On the side wall is a slot labelled "Outgoing mail."
The floor here is, well, old. It looks like the linoleum floor was once white, but it is a strange grey-brown at the moment, and near one corner is a pile of something that, well, you don't even want to think about what it might be.
On all the other walls of the room are various mailboxes from very tiny boxes that appear to only hold a letter or two; up to boxes that look so large that you think you might be able to climb inside.
| 3 |
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| 10 | false |
You are standing in town next to your car with a flat tire. A car drives past every now and then, but there's not a lot of activity going on right now. The clouds have started to break up, but it would be a stretch to call it a sunny day yet. At least it's not hot.
There are two store fronts here where you are standing, a Mailboxes, etc., and a local coffee shop. There is no one in the Mailboxes store, but there are a few different people wandering in and out of the coffee shop, like any other day in any other town.
> You go into the coffee shop...
As soon as you walk inside the coffee shop, the aroma of fresh coffee assaults your senses. There is a long counter along the left side of the small shop and a few small tables to the right. There are a few round tables along the right side of the room, not all of them empty. There is a small man with a thin beard typing at an old laptop computer, ignoring the room around him.
Before the door shuts, you hear the squeal of tires. A taxi has pulled up outside and the passenger door swings open. The driver is gesturing at you to get inside. You look around to see if he is talking to someone else, but there is no one else looking at him, he is clearly trying to get you to go in the taxi with him.
> You get in the taxi...
The taxi accelerates quickly away from the coffee shop before you have time to put on your seat belt or even close the door. The door slams as the cab turns left in another squeal of tires. Looking around, you see the cab looks used and smells used, too. As the car turns another corner at high speed you notice that the place for the cab driver's name is empty.
Any attempts to speak with the driver of the cab are completely ignored as the driver concentrates on the road. You spend most of the trip trying to stay in your seat as the car accelerates, turns corners, and slams the brakes on faster and more often than any car you've ever been in.
Suddenly the car stops, almost throwing you on the floor. The driver does not turn around. Your door is opened from the outside by a red cap. A red cap? Yes, as you step outside of the cab you realize that you are at the airport. The red cap talks to the driver a moment, then the cab speeds away.
With no idea what else you are to do, you head inside the airport with the flow of people. You can see baggage checks and ticketing lines, but you have no bags, and you are sure you don't have enough money to pay for a ticket. You wander around a little, but then realize the entire place is focused on getting on a plane, so you are eventually pushed towards the TSA security area by the crowd.
Looking around, you realize you do not have a lot of options here. You can try and sneak past these TSA agents, knowing that many of them barely have a high school education; or you can just stay in the line with the rest of the people moving slowly towards the security check.
> You continue and attempt to board the plane...
You walk up to the TSA guard, your hands empty. He looks up at you, finally realizing that something is wrong. "Hey, what the hell? What are you trying to pull here?"
His tone of voice attracts a few more of the blue-gloved guards. They gather around you quickly and one says, "Hey, do you want me to search him good?" They look from one to the other, unsure of what to do. Finally, a taller man, clearly the one in charge comes over and says, "What are you morons doing standing around? We need to keep this line moving. You know the rules. Anyone who doesn't have a ticket doesn't get through."
> You continue...
You are quickly shoved and pushed. Before you can react, your hands and arms are grabbed by half a dozen pairs of blue gloves. Your hands are pulled behind your back and zip ties are quickly put in place, locking your hands behind you. "Let's go," you hear, as you are shoved from behind almost hard enough to knock you over.
You stumble forward and keep your feet as you are led to an elevator. Six TSA guards get on the elevator with you like they expect you to attack one of them and create a national security incident. They look smug, like they are proud to have captured you. The elevator moves down into the ground for a few floors -- more than you thought were in the airport. When the door opens, you see nothing but old grey walls all around the plain hallways.
They walk you down the hallway underneath bare light bulbs and exposed pipes. One guard walks ahead of you and open a large steel door on the right hallway. He roughly shoves you in the room and says, "Welcome to TSA jail."
The door slams behind you and you sit in the dimly lit room. There is a bare metal toilet here and a simple bench for you to sleep on.
Sorry, but that's all there is for this path! You're stuck in TSA jail.
| 3 |
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| 7 | false |
The taxi accelerates quickly away from the coffee shop before you have time to put on your seat belt or even close the door. The door slams as the cab turns left in another squeal of tires. Looking around, you see the cab looks used and smells used, too. As the car turns another corner at high speed you notice that the place for the cab driver's name is empty.
Any attempts to speak with the driver of the cab are completely ignored as the driver concentrates on the road. You spend most of the trip trying to stay in your seat as the car accelerates, turns corners, and slams the brakes on faster and more often than any car you've ever been in.
Suddenly the car stops, almost throwing you on the floor. The driver does not turn around. Your door is opened from the outside by a red cap. A red cap? Yes, as you step outside of the cab you realize that you are at the airport. The red cap talks to the driver a moment, then the cab speeds away.
With no idea what else you are to do, you head inside the airport with the flow of people. You can see baggage checks and ticketing lines, but you have no bags, and you are sure you don't have enough money to pay for a ticket. You wander around a little, but then realize the entire place is focused on getting on a plane, so you are eventually pushed towards the TSA security area by the crowd.
Looking around, you realize you do not have a lot of options here. You can try and sneak past these TSA agents, knowing that many of them barely have a high school education; or you can just stay in the line with the rest of the people moving slowly towards the security check.
> You attempt to sneak past the TSA guys...
You wait for the right moment, then move to sneak around the outside edge of the TSA security check area. You move slowly, then try to look like you know what you are doing. You manage to make it around the inattentive guy checking IDs of people and start to get past the shoe checker when you bump into a metal pole that makes the pathways, and it clangs to the ground, the ringing echoing along the hallways.
One of the bored TSA guys barely looks over and says, "Hey, that machine is closed, you need to come over this way."
| 3 |
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| 6 | false |
As soon as you walk inside the coffee shop, the aroma of fresh coffee assaults your senses. There is a long counter along the left side of the small shop and a few small tables to the right. There are a few round tables along the right side of the room, not all of them empty. There is a small man with a thin beard typing at an old laptop computer, ignoring the room around him.
Before the door shuts, you hear the squeal of tires. A taxi has pulled up outside and the passenger door swings open. The driver is gesturing at you to get inside. You look around to see if he is talking to someone else, but there is no one else looking at him, he is clearly trying to get you to go in the taxi with him.
> You stay where you are...
You take a seat inside the coffee shop and the taxi drives away. You wonder what it could have wanted, and why you are suddenly seeing so much attention. As you look around the shop, a fellow typing on his old laptop looks up at you and glares at you before putting his nose back in the machine, the old keys clicking away as he types.
There is little traffic in and out of the coffee shop today, and you wonder when that tow truck will show up. Sometimes you think those tow truck drivers are on their own times and really don't want to help you out. Then you start to think about how much the tow is going to cost and you realize you really need to buy two tires now: one to replace the flat and another to replace the spare that you haven't had time to replace. This is really going to cost you.
> You continue...
The barista at the coffee shop glares at you since you have been there for some time and have not ordered any coffee. Yes, there are plenty of empty seats around, but that barista clearly doesn't want any freeloaders in the shop.
Fortunately for you, about that time the tow truck shows up. The diesel engine clatters and clanks as the bright orange lights spin on the top of the truck. The middle-aged man with the stained white t-shirt steps around to your car and quickly hooks it up to the flatbed of the truck. You head over towards him, but he gestures you back without a word. You ask if you can at least ride in the truck, but he spits on the ground near you and says, "Company Policy." He climbs back into the truck and drives away, your car sitting firmly on his truck.
You look around the sudden silence and realize that now you're stuck in town with no car and no life. Then you realize that you're not even quite sure where the tow truck took your car. Just then there is a sudden boom of thunder and it starts raining. The rain is cold, so you turn up your collar and start walking home. At least you get to go to work again in a couple days...
| 4 |
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| 10 | false |
You make it through the regular take-out for your dinner and realize that you ended up spending way more of your paycheck than you should have. Now you're full, so maybe you won't go out tonight...well, at least not yet. Sitting around for a bit, it's Friday night, so you're sure something good will be on TV. Later on you can worry about going out.
You flip the channels and start to realize that even though you have something like 1,000 channels, there's really nothing on...nothing at all. You finally stop on some supposed reality show that's just made for laughs and embarrassing people. It's pretty bad, but you watch it all the same because it's better than watching re-runs of a game show from 20 years ago.
As you zone out, suddenly you hear a tapping on your window. Yes, you're on the fourth floor, but one of your living room windows faces the walkway/balcony that loops around the outside of one side of the apartment building. You figure it was probably just the kids from upstairs messing with you, but then you hear the tapping once again. You could just turn the TV up, but you could go see who it is.
> You check it Out...
You look out the window and you see a man standing there in a long coat and dark hat. He stands in the shadows -- you swear there used to be a bright light there outside your window. He gestures for you to come to the door and waits.
You open the door a crack, and you hear an old, cracked voice say, "I came to pick you up. You're supposed to come with me." He turns and starts walking towards the stairs.
| 3 |
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| 6 | false |
You walk across the sidewalks and towards your apartment. You can feel the heat coming off all the cars that got to park closer to the building than you did because of that traffic. Most of the cars here are older cars, some with dents and cracked windows, just like yours. You'll earn enough one day to get a better car, you're sure of it, just not any time soon.
You start up the stairs to your apartment. When you rented this place, the $200 discount for taking the fourth floor apartment seemed like a good idea. Of course, that was before you found out the apartment above you had kids, and you still had to walk up all these stairs because the elevator was at the other end of the building. Maybe you would win the lottery, then you could build your own house where you wanted it to be: and you weren't going to have any stairs in the entire house!
You unlock your apartment and step inside. The air is pretty stale, since the management makes you pay if you leave the A/C on all day. You know without looking that the refrigerator has nothing but some old catchup. But hey, you did get paid today, so you're going to order some take-out! Just before you get to the phone to place an order, the phone starts ringing.
> You answer the phone...
You trudge over to the phone and pick it up. You say, "Road-kill grill: You kill 'em we grill 'em" (like you usually do). There is a moment of silence, then you hear a clearly computerized voice:
"Now is the time. The location is 841 South Dergible Road. Do you copy?"
You pause for a moment and wonder what this could be about. Finally you stutter, "I'm sorry, I think you have the wrong number."
The computerize voice replies, "No. This is a direct line. The message is clear: now is the time. The location is 841 Dergible Road. Again, do you copy?"
"I... I... I don't know what you're talking about."
"Repeating for the final time: now is the time. The location is 841 Dergible Road. Out."
The line immediately goes dead. You are standing in your living room, staring at a dead phone. You try to get the last number off the phone, but it doesn't show having received any call in the last two days. The address that was mentioned is only a few blocks from your apartment...
| 3 |
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| 10 | false |
"Another day, another dollar," you think as you trudge out the door from your job. You really don't like working there, but at least they pay you...a little. Finally you've made it to the weekend, so you at least get to look forward to a couple days off from work.
You get in your car and drive out of the parking lot at work only to come to an almost immediate stop as you hit the traffic. It is like this every day, but Fridays are always the worst. You reach to turn the radio on, but then remember that you still haven't had time (or money) to get that fixed. You look out the window and just see the line of cars moving slowly...
Finally you get home, and you're hungry. You should have stopped for something on the way home, but you just wanted to get out of that traffic and out of the car. When you arrive at the apartment parking lot, you sigh when you realize that you're late, so everyone else will be parked in the good spots. You circle the building once before you give up and park in the "remote" lot. Hey, at least you're home and work is over.
As you trudge towards your apartment building, you see a small brown box sitting on the edge of the sidewalk, right near where you parked. Looking around, you don't see anyone else at the moment. You can't tell if the box was left there on purpose, or if someone accidentally left it behind.
> You open up the box and look inside it...
You open the box and find a few items in it. There is nothing else in the box identifying the owner or source of the items.
| 3 |
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| 5 | false |
You begin to fire, but you BB Gun has absolutely no effect on the thing. It reaches you in no time, but not before you smash it in the face with the gun, breaking it into pieces. This temporarily stuns the beast, which allows you to take your knife and start stabbing the shit out of it. It howls and knocks you to the ground with one paw, reeling back from its bloody wound. It sprints to the other side of the building but looks to be preparing for another assault.
You actually hope it does. You've never felt so alive...
> You look for something else to attack it
It occurs to you, you got lucky with the knife, you need to use one the other many objects you brought with you before hell hounds were on your trail.
You hastily look into your pockets for something and find some marbles. You throw them on the ground in the hopes that the Beast will slip up.
The Beast crushes the marbles underfoot as it advances! You just barely manage to dive out of the way, as it tries to plow into you. The Beast cracks its head into the solid concrete wall and emits a painful howl. Now's your chance!
You jump on the back of the Beast and start stabbing it in the back! It howls even more and attempts to get you off of it. You are relentless! You drive the knife in and grab hold of its spine! You pull part of it out! The Beast collapses unable to move, but still wailing. You finish it off by plunging the knife into its black heart.
You're winded, you're hot, you're sweaty and you’re covered in blood. And now it appears the other wolves have finally come through the now shattered door. The wolves all seem to whimper as they sense the power of the Beast is now within you. You look at the pack, and YOU are its master now. And you feel the urge to hunt...
You have embarked on a very strange new path.
| 3 |
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"Deeply nested clauses (3) in one sentence",
"Contains passive voice",
"Deeply nested clauses (3) in one sentence"
],
"score": 9
}
| 9 | false |
You'd rather take your chances with some natives than these things! At least the primitives were human! (Well you assume they were)
You rush inside and slam the door shut, locking it. The jungle and village are gone, whatever you saw before will remain a mystery because there's no trace of it now.
You wonder if it was some acid flashback you had.
It’s possible; you have done the stuff in the past. Maybe this is all just the flashback of a bad trip.
Of course the scratching at the door and inhuman noises outside sound pretty real...
Bad trip or no, there's no point in taking fuckin' chances! You stand in the center of the room and watch the door, as the banging gets more intense.
You prepare yourself, holding your BB Gun at the door and taking out your limited edition Charles Manson butcher Knife.
You stand ready, as the door looks like its going to come off its hinges, but then the noise stops and you hear the wolves padding off.
You breathe a little easier, but only for a moment. You look in utter horror as you see the alpha wolf (That would be the mutant, in case you weren't paying attention earlier) materialize out of one of the corners of the building.
It looks at you with absolute hatred and hunger.
If this IS an acid flashback, it’s a REALLY bad one!
> You disbelieve! Disbelieve!
You empty your mind, close your eyes and completely disbelieve that this THING could exist as it comes charging at you.
You feel its hot breath hit your face, and expect your death, but nothing happens.
You slowly open your eyes, and there's no sign of the Beast. In fact you're not even in the building anymore. You're by your car.
You hear some wolves howling in the distance.
You look at the Gray building. There's only one door and no windows. Its pretty ominious looking actually. Like a place thed's do snuff films or secret government experiments. You cautiously look in and find nothing. No illegal sex club or "Area 51" like area, you're a bit disappointed actually. You go back to your car and pick up some of your shit to take inside. You open the door and see a primitive jungle and village! You also see some natives, who may or may not be friendly. You close the door and try to figure out what the fuck just happened, you don't have long though. Those wolves you heard earlier must've caught your scent. The leader must be some kind of mutant since he's got red eyes, six legs and is fuckin HUGE! As they decend upon you, you quickly run back into the building and decide to take your chances with the villagers, at least they're human! When you get inside though the village is gone. There's no trace of it. The wolves begin to scratch and howl outside the door. You prepare yourself with your BB Gun and Limited Edition Charles Manson butcher knife. Suddenly the noises stop, but you don't have long to rejoice, as the mutant wolf suddenly materializes from one of the corners of the building!
It looks at you in absolute hatred and hunger.
You empty your mind, close your eyes and completely disbelieve that this THING could exist, as it comes charging at you.
You feel its hot breath hit your face, and expect your death, but nothing happens.
You slowly open your eyes, and there's no sign of the Beast. In fact you're not even in the building anymore. You're by your car.
You hear some wolves howling in the distance...
| 4 |
{
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"reasons": [
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| 2 | false |
You quickly close the door and try to piece together what the fuck just happened!
You don't have as much time as you like though. Those wolves you heard earlier, must've caught your scent, because there's a pack of them on a nearby hill. The leader is jet black, has red eyes and has gotta be a mutant of some sort because he's got six legs and is fuckin' HUGE!
He sees you and howls an unearthly howl calling his fellows after you.
They'll be upon you soon and you're not gonna make it to your car in time.
> You shoot them with your BB Gun
Your BB Gun is NOT a suitable weapon! Especially not against Fenris over there. You manage to run back into the building and decide to take your chances with the village. At least they're human.
You run back inside, but the village and jungle have been replaced by a battlefield. Apparently, you're no longer in the building at all anymore. A mortar shell hits close by, when suddenly you're pulled in by some woman in a fox hole. She asks you what the hell you are doing. Her uniform isn't recognizable; in fact the surroundings are even a little strange looking. The sky's green for one thing.
You attempt to explain yourself, but she doesn't seem too surprised and just hands you a real weapon and mutters something to herself about how the Kragan's time/dimension experiments have fucked everything up. You ask her what's going on, but she says she'll explain everything later if you both get out of your current situation alive. She starts firing at a strange looking creature and tells you to move it. You both run as fast as you can as you see strange looking planes flying overhead which proceed to bomb the hell out of the enemy behind you.
You both dive for cover again as the explosion occurs. The woman surprisingly laughs at all of this. You on the hand are a nervous wreck. She notices this and kisses you.
You don't know what the hell's going on, but this isn't ALL bad. After she's done, she says you have to get moving again. You ask her what that was all about.
"Well you're cute and when you face death all the time, you gotta seize the moment sometimes. Plus I think you need something good to happen to you after walking into that Gray building."
You look surprised; you never got around to telling her that.
"Let me guess, Gray building on Ebay right?"
Looks like you just stepped into something REALLY weird, but at least you got a new girlfriend out of it.
| 2 |
{
"has_passive_voice": true,
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"is_complex": true,
"reasons": [
"Contains passive voice",
"Deeply nested clauses (3) in one sentence",
"Deeply nested clauses (5) in one sentence",
"Deeply nested clauses (3) in one sentence",
"Deeply nested clauses (4) in one sentence"
],
"score": 8
}
| 8 | false |
You cautiously enter the building, but not before you take your Limited Edition Red Rider BB Gun with you.
Nothing!
There's absolutely nothing in here! No illegal underground sex club, no "Area 51" like facility. Nothing.
You can't help being slightly disappointed; well at least you don't have to worry though, its big enough to hold all your shit.
You go back to your car and proceed to gather your belongings. You kick the door open and are surprised by what you see!
You see a jungle like area, with a primitive village inside! There ARE some natives roaming around, but they haven't noticed you yet. They may or may not be friendly.
This is fuckin' bizarre to say the least!
> You enter the village
You enter the village, taking your BB gun with you and some of your other stuff.
The villagers see you, but don't attack. They're more curious than anything, especially with all the wonderful things you're carrying, suddenly you got a million hands grabbing at you.
You let them take the stuff, which they seem pretty pleased about. They give you some precious gems in return! You tell them, you have more gifts for them. You run out to your car, get more stuff and give it to them. This earns you more gems AND a chance to sleep with the chieftain’s twin bisexual daughters!
You fuckin' rule!
In fact you rule so much, they think of you as some kind of god. This isn't as fortunate as you might think...
It seems they want to EAT you, and become one with their god. They believe since you are a supernatural being, killing your body will be of minor consequence to you. Nothing could be further from the truth!
Grabbing your clothes you begin running butt ass naked through the jungle with the entire tribe chasing you, whooping it up. They think this is a fuckin' test!
> You run!
As you run you attempt to avoid protruding branches that could severely damage your tender bits.
As you get to the shore you trip over a piece of hemp rope. Sonofabitch! This is that Styrofoam Island! As the natives close in, you get an idea to start picking at the hemp rope. It works! You have successfully unraveled the piece that you were standing on from the rest of the island.
The natives shout something at you in an indecipherable language (Which is odd since they were speaking perfect English when you were friends with them) as you make your good escape on the drifting Styrofoam. You put your clothes back on and wait to reach the mainland.
The tribe suffers greatly however. They think they've failed a great test and commit ritualistic mass suicide.
| 3 |
{
"has_passive_voice": false,
"max_nested_clauses": 5,
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"is_complex": true,
"reasons": [
"Deeply nested clauses (5) in one sentence",
"Deeply nested clauses (4) in one sentence",
"Deeply nested clauses (4) in one sentence",
"Deeply nested clauses (4) in one sentence"
],
"score": 9
}
| 9 | false |
You enter the village, taking your BB gun with you and some of your other stuff.
The villagers see you, but don't attack. They're more curious than anything, especially with all the wonderful things you're carrying, suddenly you got a million hands grabbing at you.
You let them take the stuff, which they seem pretty pleased about. They give you some precious gems in return! You tell them, you have more gifts for them. You run out to your car, get more stuff and give it to them. This earns you more gems AND a chance to sleep with the chieftain’s twin bisexual daughters!
You fuckin' rule!
In fact you rule so much, they think of you as some kind of god. This isn't as fortunate as you might think...
It seems they want to EAT you, and become one with their god. They believe since you are a supernatural being, killing your body will be of minor consequence to you. Nothing could be further from the truth!
Grabbing your clothes you begin running butt ass naked through the jungle with the entire tribe chasing you, whooping it up. They think this is a fuckin' test!
> You attempt to take the tribals out one at a time
Okay Action Hero...
You sneakily lose the tribals by climbing into a tree. As you put your clothes back on, one of the tribals wanders underneath you. Using one arm you reach down and quietly snap his neck with your forearm.
You pick up his knife and hid in some nearby bushes, a couple more tribals show up, you sneakily throw the knife at one of their heads and before he even hits the ground you charge the other and punch him in the throat and then tear out his wind pipe.
You dress up in one of the tribal's clothing in order to pass as one of them. Another one shows up and you begin motioning him over to "Help" your fellow tribals. When he does so, you throw an upper jab ramming his nose into his brain, killing him instantly.
You take his bow and arrows and wipe mud all over yourself. You return to the village and sneak back into the hut you were in and take your Micky Mouse Zippo lighter back and begin running around shooting fire arrows at the huts. The tribals are screaming in terror, as you mercilessly butcher them with their own spears.
Then it happens, the Chieftain appears. He looks upon the carnage you've inflicted upon his village and realizes you are not a god, but a demon! He stands before you and is ready to confront you once and for all.
You clash! The Chieftain is a very good fighter, he lands some very good hits and you'll certainly have some scars after this, but you're the good guy and have no choice but to win. Eventually you manage to stab him through the heart with his own knife.
He dies, but looks upon you with respect of a warrior. You give him the same salute as he passes into next life. He was a worthy opponent.
And to the victor go the spoils, you take both of his daughters over your shoulders, all the gems you can carry and leave the village burning down behind you because you're SUPER FUCKING COOL.
Yep, that sure was a nice last delusional thought before one of tribal's spears plunged into your back as you were trying to get away.
That night the villagers eat their "god" and look up in the heavens wondering if you're looking down at them in approval.
| 5 |
{
"has_passive_voice": false,
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"num_sentences": 39,
"is_complex": true,
"reasons": [
"Deeply nested clauses (4) in one sentence",
"Deeply nested clauses (3) in one sentence",
"Deeply nested clauses (7) in one sentence"
],
"score": 8
}
| 8 | false |
Face it; you don’t really have that much of a personality, so instead of buying any one of the more “interesting” items, you decide to get the dull gray building to match your life. Its only $2000 and nobody else wants it, so you get it with relative ease.
Alright! A place of your own, no more having to quickly erase the porn on the computer or explaining to Mom why your pants are off anymore!
After you receive the location, you quickly start packing up your shit. Until you realize you’ve got a lot of it. Hmmm, you don’t really feel like moving it all and you briefly think about selling some of your shit on Ebay, but as usual you can’t bear to part with anything. Where else are you gonna get a genuine Hitler Pez dispenser? Or the rare gay version of Star Wars? Or even that picture of you with Boudicca’s ghost?
Besides you don’t want to waste anymore time on Ebay today. You’re in a rare adventurous spirit and really wanna find out what this building’s all about. You load up your Mom’s car with as much shit as you can and drive to the building’s location. It takes you a day to get there, but you finally do it.
You’re here at the Gray Building. You’re also in the middle of nowhere! You can hear a pack of ravenous wolves in the distance. There’s only one door and no windows. Looks pretty ominous actually. Like a place where they’d do a snuff film, or perform secret government experiments.
Well in any case you DO own it, so maybe you should find out!
> You inspect the outside of the building
You inspect the outside, but there's nothing unusual. It’s just concrete, no windows, or other doors at all.
You make your way back to the front of the building and the door is gone! You could've sworn it was right there! You search and search, but to no avail. It’s just solid concrete now. You're search more, but you see some wolves up on a nearby hill that look very dangerous, so you decide to leave and come back tomorrow.
When you come back, the entire building is gone! There's no trace of it. You can't figure it out! This WAS the right location. This is very strange. Maybe you made a mistake and need to travel further up the road.
> You travel further up the road
You drive a little further up the road, still nothing. You're about to give up when then you see it again. You see the Grey Building. You guess you just didn't realize it was further than you thought.
The Grey Building stands before you and there's the door, so you can go in if you want.
> You go in the Grey Building
You enter the Grey building and suddenly feel a strike to the back of the head.
"THIS IS MY GREY BUILDING! DIE INTERLOPER!" a voice shouts as you try to get back up. A heavy boot kicks you in the face and everything goes black.
The last thing you hear is a rusty chainsaw.
The last thing you feel is that chainsaw entering your back.
The last thing you think is that this is the GREY Building not the GRAY Building.
| 2 |
{
"has_passive_voice": true,
"max_nested_clauses": 4,
"longest_sentence": 41,
"num_participle_phrases": 1,
"num_sentences": 48,
"is_complex": true,
"reasons": [
"Deeply nested clauses (4) in one sentence",
"Contains passive voice",
"Deeply nested clauses (3) in one sentence",
"Deeply nested clauses (3) in one sentence"
],
"score": 5
}
| 5 | false |
You drive a little further up the road, still nothing. You're about to give up when then you see it again. You see the Grey Building. You guess you just didn't realize it was further than you thought.
The Grey Building stands before you and there's the door, so you can go in if you want.
> You inspect the building again
You walk around the building again, and something isn't right. This is a Grey Building but it isn't your Gray Building.
You can hear shuffling inside, and the clinking of chains. This doesn't seem like a safe place to enter, so you hastily leave and head back home and just say to hell with the whole damn thing. Your life is more important than fucking around with mysterious buildings in the middle of nowhere.
| 3 |
{
"has_passive_voice": false,
"max_nested_clauses": 3,
"longest_sentence": 30,
"num_participle_phrases": 0,
"num_sentences": 10,
"is_complex": true,
"reasons": [
"Deeply nested clauses (3) in one sentence"
],
"score": 1
}
| 1 | false |
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