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Thimbleweed Park: Just in Time DLC Playthrough (Fanfiction)
Publié le 30 Juillet 2017 par Kevin
Just in TimeTM takes place at the moment when Delores went back to Thimbleweed Park because she learnt Chuck had died of a heart attack.
Delores hasn't admitted it to herself yet, but her job at MmucasFlem isn't as dreamlike as she had hoped. She works on computer games yes, but she is given redundant menial tasks of testing, optimisation and polish. Moreover, her colleagues don't seem to be very interested in her ideas or in getting to know her (they don't even seem aware of the fact that she is a woman) and the company seems even less interested in their work. She wishes she could impose herself to others just like her uncle Chuck does but she has realised that in certain situation she can be just like her dad and even more so now that she feels that she betrayed her uncle.
She's made a female friend though, Justine: a boyish young woman who works on the adaption of a science-fiction movie into a simulator of space combat. Although Delores and her are both interested in computers and programming, the ginger game designer had many opportunities to notice how different Justine is from her.
The short-haired girl is a strange mix of introversion and extraversion. She can throw snarky and cynical remarks and be excessively kindly and benevolent in the same minute. In the same fashion, she can display confidence as well as honestly and humbly confess a lack of it. Delores doesn't know exactly where she stands when it comes to their friendship but she sure had a few great times at Justine's place, playing Boulder Crash on her commodore 64 or listening embarrassed to her friend's monologues about men while eating cakes and drinking tea.
Part 1: The Tears
The story starts in Justine's small apartment. She is sitting in front of her computer her back turned to the camera, playing a small videogame that Delores designed and lent to her: Galaxy Warrior. It tells the story of a young man, son of the king of a distant planet whose mother has disappeared at a time he was too young to remember. A complicated plot involving a banishment, a trip across several regions of the fictional country, the meeting of several weird races of extra-terrestrials, a bad guy who -of course- wants to take the throne, the hero's father weakened by the loss of his wife and several betrayals and unexpected development, (this complicated plot) leads to the young man's heroic comeback to the futuristic middle-age castle where he intends to confront the main villain.
Delores' C64 game
So, Justine is playing Delores' C64 game and we actually get to play it. When Zaromir (That's how Delores called the Galaxy Warrior) is caught by a pitfall use his shield to break his fall. Giving the hardly earned roasted chicken to the giant snake or talking to it will stop its attack. It's Rodolph the pet snake of the castle.
If you use the hardly earned chicken Justine will comment on how anti-climactic it is to see the chicken being eaten that way after all she's done to earn it whereas if you talk to the threatening snake, she'll laugh at Delores' refreshing logic.
Walk to the next ominous room, in order to cross that one, you'll have to walk only on the stones that do not trigger the shooting of laser spears. Look at the guard's journal in your inventory to see the direction to follow and the number of paving stones you need to step on. Starting on the third stone from the top, you have to do 2 right, 1 down, 1 right, 2 down, 4 right, 3 up. At this point, even though the guard's journal still indicates other coordinates, you need to use your grappling iron on the hook that is suspended from the ceiling in order to cross the rest of the room otherwise your action will be cancelled by a trap. You can then enter the cosmic elevator by using the guard's ID on its control panel. Inside the cosmic elevator look at Elevatron 2000 and Justine will notice that the tube has burnt. Use tube on Elevatron 2000. The game asks you to type the two letters model identifier and the make number. Quit the C64 by clicking outside of its screen. You need to find the book about Chuck Edmond that Delores lent you. This book is at the bottom of the pile of magazines on the shelves on the left side of the room. You will need to precisely click on the right one as they all were named, just like in Delores' library. Open Fourty Years of Pillowtronics. Justine will notice that several pages of the book were torn amongst which the index. Find the pages with the categories of tube, find Elevatron 2000. The tube needed for an elevator is an AZ-32. Go back to the videogame and type this reference.
The cosmic elevator brings you to the penultimate room of the game: the courtyard. Talk to the sulky guard, he'll talk about his loneliness and his lingering feeling that life is pointless. Use the grappling iron with the open window to reach the secret bedroom. Zaromir is surprised to discover the existence of such a room. If you look at the elements of the background, the description that Zaromir gives hint at a possible secret sister who was held here for years before she died. Take the stuffed chinchilla on the bed, go back to the guard and give it to him. He thanks Zaromir and tells him that he can now enter the king's room. Walk to the King's room. It doesn't work.
Justine tries several times but the game doesn't take her action into account. The phone rings. Pick up the phone. It's Delores, she neutrally announces that she is going back to Thimbleweed Park because her uncle Chuck has died of a heart attack. Justine is shocked and only manages to express her sympathy. Her friend asks if she's completed her game and sounds disappointed when Justine responds in the negative. They hang up.
J: First, her father disappears, now her uncle dies. Her cheerfulness worries me. I hope she'll be alright. I should at least finish her game, she sounded disappointed that I didn't.
Sketch of Justine's room
(FYI Justine is wearing a green tracksuit and a black top.) Use Justine's commodore 64. She refuses and states that she needs to correct the file of the game first. If you look at the top row of books of her shelves, those about programming a C64, she will explain that she already knows what she should do and just needs a file editor. Open the disks file cabinet on the desk next to the computer, pick up Basic file editor and use it on the computer.* The game is repaired; Zaromir can now enter the Throne room.
* You can also pick up Boulder Crash and The Robot Factory and play them too. Justine will simply state that it's going to relax her and help her process the unsettling news that she has just learnt about. Boulder Crash and The Robot Factory are two parodic 5 levels long versions of two classic games of the C64: Mr.Robot and his Robot Factory and Boulder Dash.
In the throne room, a masked extra-terrestrial, purple tentacles in place of hair, awaits for Zaromir. His left hand is resting on a lever.
Z: I am here to claim what is mine Uros, and restore order in the kingdom, you treacherous monster !
U: How do you know it is order and not chaos that you will restore my prince ? Orphans were never good rulers.
Z: My dad is safe.
U: I'm not talking about your dad Zaromir, but your mother !
Z: What do you know about my mother ?
U: I know the unbearable ! You think you should protect the King from me but truly I am your friend and he is the enemy !
Uros pull the lever and circular saws hanged by chains descend from the ceiling . Push Uros in circular saws.
The screen goes back to Justine playing on her computer. "Ho, wahou, this is graphic" she exclaims; "And there's a clear focus on the… gruesome parts." "Delores my dear, you've got an untold thirst for blood. You haven't watched enough of John Romero's movies." "What's that ?"
The game is asking for a code. "What was the reference number of the first videogame Delores ever ordered by mail in the magazine Byte-me World ?"
J: Well, I know it to be Aztec Ordeals three years ago in February because you awkwardly told me when you lent me Galaxy Warrior. So, I just have to find the February 1984 issue of Byte-me World. It won't be hard.
Look at the magazines on the shelves. Of course the needed issue is missing. At this point things can go in different directions. There are three ways you can obtain the answer, however each first attempt will fail.
1-Use the phone, Justine will call her friend Raymond to ask him if she's lent him the magazine. He'll say no if it's the first thing you try, otherwise, he'll say yes and will give you the reference number of Aztec Ordeals.
2-Pick up the robe that is lying down on the floor next to the bed. It will reveal a magazine. If you look at it or pick it up, Justine will wearily state that it's just a cinema magazine –a bigger format than Byte-me World– with one of her favourite actor on the cover: Mickey Work. Picking up the robe however unlocked the possibility to look under the bed. Justine grabs another dusty cinema magazine. Open dusty magazine to reveal Byte-me World issue of February 1984. Open it and write down the correct reference number of Aztec Ordeals on a piece of paper. (if you tried this solution first, there's no magazine inside the second cinema magazine)
3-You can also go to Justine's kitchen pick up the clamps in the drawer on the left and then go to the bathroom, look behind the closet and pick up the magazine with the clamps. If you tried that solution first, there's nothing to be spotted behind the closet.
*In the kitchen, you can look at a flyer for Thimblecon 87.
*If you try to open the storeroom Justine states "Where did I put the key ?"
Use Justine's C64 and choose the right answer amongst the suggestions.
Zaromir reappears in the throne room, surrounded by blood. Suddenly he starts crying and calls for his mother. The End.
Justine stands up: Well, that wasn't disquieting at all. I should dine and go to sleep.
There is an ellipsis, then she lies down in her bed in pink pyjamas and the screen is distorted by waves (she is not asleep yet).
We find young Justine in the bathroom of her secondary school in the company of several other girls. She is humming an out of tune melody in front of the mirror, combing her long brown hair. Slowly the room clears out, the last girls giggle while exiting it. Justine suddenly exclaims "Where's my bag ?"
Open the suspiciously closed door. Girls have locked Justine up inside the bathroom. Through the door they tell her that they've put her bag "where it belongs," most probably in a dustbin somewhere. Justine asks how they got the key, "most doors open with the same key that all the staff members have." Once they've left, talk to the door to call for help. You will need to do it at least three times for Justine to dare do it, and then two more times for someone to answer, but you can then get four pupils to answer and give up on helping Justine because they need to attend a class and do not want to get into troubles.
Look at and use the high window several times so that Justine eventually decides to try and exit the room through it. "It's too high," "I'm not a stuntman." Once she's fallen, if you ask her to look at the sinks or the toilets, she'll suggest "maybe I could clog up the sinks and the toilets with toilet paper and flood the room so that the water carries me up to the window… but I don't know how to swim." Her fall reveals a corner of the room that the player might not have noticed up until that moment as it didn't seem logical to be able to change view inside such simple room. Pick up the fire extinguisher and use it on the door knob. Yes, Justine is angry. She forces the door open with an unrestrained violent hit. Notice that she only agrees to do so after you've tried the window.
J: I need to go to the library now. I'm late for my duty.
When she enters the library, she overhears a conversation coming from the office. Someone is being told off. Before Justine gets time to type the code (11-22-34), the door opens and a girl rushes out in tears.
J: Lisa !?!
Justine enters the office and asks the supervisor what is going on. He tells her that Lisa has stolen two books… or more precisely that two books which had been returned and had yet to be put back on their respective shelves were stolen during her duty hours and that nobody knows the office code except him, Lisa and Justine.
S: Don't be afraid Justine, I know you would never do that, I know you weren't even in the library yesterday and I'm pretty sure you already own these two books.
The supervisor leaves her to her duty and after she's worried a minute for her friend, Justine remembers that her bag is still in a dustbin somewhere.
Check in the register on the desk which books were stolen. The supervisor is right, Justine already owns Space Explorers Meet the Doom Intendant and The Man Who Was Several; two science fiction classics.
Look at the office desk. Pick up the grey key (it is hidden by the lid of an open box which you need to close). Use the grey key on the wood panel on the wall. Pick up the green key. Use the grey key to open the closet in which the supervisor keep is whiskey bottles. Push the bottles -be careful, Justine will refuse to pick them up- to reveal a metal box. Open the box. Take 20$. Leave the library and go to the courtyard (left, left). Use the green key on the metal gate.
Here same thing as with the Byte-me World issue, the schoolbag is to be found either 1-in the bin in front of the bookstore, 2-in the dumpster near the wall of the schoolyard or 3-under the yellow car next to the dumpster. You will never find the bag where you first look. You can also ask the shopkeeper (Robert Osborne) about it. Both books can be found in his shop. Space Explorers Meet the Doom Intendant is on the Science-fiction shelves at Dean Anderson (Justine remembers the author's name) whereas The Man Who Was Several is to be found in a corner in a cardboard box ready to be sent back to the editor. Robert can be asked about it too. He won't allow you to search the cardboard boxes. You'll notice that he receives short phone calls regularly on his big wireless phone (Justine describes it as an Enginola 8000Y) and sometimes check on his computer if a book is available.
So you'll have to look at the door of the shop, on which you'll find its opening hours and phone number, and look at the books on the shelves of the second floor, then go back to the library's office and use the phone. Justine calls her mother and asks her to call the library and ask if they have whatever book name she remembered from the shelves of the second floor (Be careful you'll have to chose between four suggestions). Then go back to the bookshop. If you wait for Justine's mother to call, the shopowner will answer all of her questions without moving from his spot.
What you need to do is grab the wireless phone when he isn't looking (he does a lot of other activities) and go to the second floor. You can now hide the wireless phone in order to win more time. If you just right-click on the chair, the verb "put" will appear which is funny as it isn't to be found amongst the verbs of the interface. Putting the wireless phone there will not give you much time though, so you'll have to pick up the brown key at the bottom of the stairs, pick up the cushion on the chair, use cushion on wireless phone, use brown key one the glazed closet, and use silenced wireless phone on closet. And you can still pick up the book that you told your mother about, Justine will automatically move it to a different spot so that Robert will have troubles finding it. You can also hide the silenced wireless phone under the shelves but the shop owner will find it pretty quickly too. And you can also pick up the string that hangs from the aquarium, use it on the wireless phone, open the window, use the "wired phone" on the handle and then close the window. The phone will thus hang from the window in the street, this works pretty well too. Trying each of these five tricks will unlock the "hide and seek" achievement.
Go back downstairs, when Robert receives the call and climbs up to the second floor, push the boxes on your path (it takes time as they're heavy for the little girl) and open the furthest to find the desired book. Once the shopkeeper is back give him the two books and the money. Go back to the library (not the office but the library itself) and pick up the paper card, self-adhesive letters and scotch tape from the table at the bottom of the screen to use them on the books in order to make them true library books. Justine automatically put them back on their respective shelves.
J: I'll replace the 20$ tomorrow. I know this isn't going to work out for some reasons, it never does, but at least I've done what I could to sort Lisa's situation out.
Justine wakes up in her bed with a start and slowly turns toward the player:
J: Yeah, I know you want to know the end of the story. On the next day, I replaced the 20$ without anybody noticing but the sudden returning of the books mysteriously made the supervisor even angrier at Lisa. She later on accused me of the theft and of having replaced the books out of guilt and cowardice and told me that it wouldn't repair all the damage I had caused her reputation amongst the teachers. She never talked to me again, found new friends, and went as far as doing me bad tricks.
J: Also, there weren't a control panel on the door of the office library, it was yet another key, nor did the shopkeeper had a wireless phone. I always add technologies in my nightmares, I don't know why.
Justine looks thoughtful for a minute.
J: I should try to help Delores. Something really strange is going on and I have the feeling that I'm the only one who can actually do anything about it. I need to go to THIMBLEWEED PARK.
Part 2: The Trip into Space
It's about 7 o'clock pm. Justine is at the wheel of a little angular-bodied yellow car in a mountainous valley. On her left is a shiny safety barrier. The landscape is scrolling quickly. The car passes by a road sign indicating "Thimbleweed Park 5 miles." The radio switches to white noise before Justine finds KScum radio 197.8 FM. Razor and the Scumettes is not on but a generic punk-rock music. The yellow car reaches a road barrage a few seconds later. There's a police car and several traffic cones. If you talk to the deputy sheriff he'll ask you the reasons why you want to go to Thimbleweed Park and will answer you that the city is scheduled to undergo very drastic architectural changes in a few days and that its access is restricted to the authorized people only.
Give him the receipt for your room at the Edmond Hotel. Johnny (that's his name) answers that you'll have to ask for a refund. If back at Justine's apartment you've looked at the flyer for Thimblecon 87, you can also pretend that you're going but the deputy sheriff will ask for your ticket. Once you've used all of your arguments, the conversation ends.
Walk to yellow car. Once Justine is inside, look at the car interior. Pick up the map and the pink felt-pen; while looking at the map Justine automatically circles around a dirt road that she passed by a few miles before. Not taking the pink felt-pen will only remove the circle but will not block the player's progression, don't ask me why it was implemented. Drive away from Thimbleweed Park until you spot the now visible dirt road (it only appears once you've clicked on it on the map). Drive to/use dirt road.
Justine parks her car in front of a closed wooden barrier. Look at the wooden barrier.
J: This looks pretty new.
You need three things to pass this barrier, if you haven't got any of these three things Justine will say:
J: I came here to see if Delores needed support and at most to snoop around a little bit, not to get arrested for trespassing and have Delores bail me out when I didn't even warn her that I was coming.
1-When the conversation with Johnny automatically ends, you need to talk to him again and a new suggestion appears [desperate use of seductive powers]:
J: But I'm a… uh… lost and… euh… powerless and… ah ! Forget it !
Johnny goes back to his car, grabs the radio and calls:
J: Attention all units… there's a woman who heavily insists on entering the city at the mountain road, what should I do ? I might require backup.
A small car arrives from the town with its headlights on. The tyres screech as it stops and Natalie jumps out of it, already holding a pencil and a notebook. The deputy sheriff curses.
N: Hello, are you the woman by the mountain road who wants to enter the city ?
J: Not really.
N: Why did you want to come to our town ?
J: I don't.
N: Does your presence here have anything to do with Chuck Edmond's death ?
The deputy sheriff intervenes and they argue a minute before Natalie leaves, only after having given you her card.
2-You need to look at the map again. The felt-pen might have been implemented to give you an incentive to do so again. Justine will notice that according to the map, the dirt road isn't on a private property. It's a municipal road. There's no reason why she shouldn't be allowed to take it.
3-Once she is okay with going further, she'll say:
J: Well, I think I have good reasons to carry on now, except that I'd be happy to carry a weapon of some kind.
Her portrait on the top right corner of the screen flickers and allows you to click on another square stamped "FB" (flashback). It sends you back in time when Justine was preparing her bag for the trip (in her apartment).
J: I'll most certainly need a tool or a weapon to crack doors or fight bears for this trip and I know what'll be perfect for this purpose !
Walk to the corridor next to the computer. Scroll left to the storeroom, its door was previously locked and still is, Justine wonders: "where did I put the key ?" Go to the bathroom, open the laundry basket and look at the green tracksuit that she was wearing while playing Galaxy Warrior. She finds the key to the storeroom in its pocket.
On the far right of the storeroom, there's a long red burin mostly hidden behind a pair of boots. Pick up the burin.
While picking up the burin Justine knocks a cardboard box that falls from its shelves.
Back to the municipal dirt road.
Justine: When my dad gave me this burin a few years ago, he told me: "You most certainly will never find a use for this, but at least, it'll remind you of your dad" It was awkward because he pronounced dad "dead" and it made me even more aware of the fact that he wasn't immortal and that the burin was some sort of legacy.
She sniffs and removes a pixelly tear from her eye.
Open the trunk of the car. Open the sport bag. Pick up the burin.
J: It's stainless steel. Quite heavy. I'm ready now.
*You can also Pick up Galaxy Warrior's disk in the flashback at any moment of the game. Justine will comment: I'll give the game back to Delores. I should also take the Basic file editor to show her how I corrected the glitch. Both disks will appear in the same square of the inventory.
Push/open the wooden barrier. Use the car.
Justine turns off the headlights and starts driving slowly. The next screen is an intersection. The road on the right goes to a beautiful isolated house, whereas the other direction is still the municipal road.
If you follow the road Justine decides to turn round because the next sign doesn't indicate Thimbleweed Park but Ashland County, 15 miles away from there.
J: There's nothing in that direction.
However, exploring the direction reveals that Justine had previously stopped the car above something. Get out of the car.
J: I didn't expect things to be so complicated... maybe I should try to phone Delores.
Look under the car. Pick up lighter.
As she approaches the house, Justine remarks that it was built very close to the cliff.
(In order to progress here, you need to gather clues that a murder or a kidnapping most probably took place there.)
Use the door and Justine will knock. Nobody answers. On the left side of the house you'll find a wood grinder under and around which the earth is a lot darker and isn't as dry. Look at grinder. Look at darker earth.
J: Aoutch, an animal went through this. I hope it was already dead.
There's a shotgun leaning against the wall of the house.
Look at shotgun.
J: I suppose they shot an animal and grinded his corpse then… this is disgusting.
Pick up shotgun.
J: I don't have any use for it right now… although it's a bit disquieting to see it there accessible to anybody.
Open shotgun.
J: I'll remove the cartridges from it. I'm not stealing them.
Walk to the back of the house.
The wall of the house is about three meters from the cliff. There's a safety barrier and a spyglass. At the top of the screen we can admire Thimbleweed Park in the distance.
Look at Thimbleweed Park.
J: Maybe I should just find a place where to climb down the cliff and walk to town, it doesn't seem like the worst option right now.
There's a paper hung to the safety barrier by a clothes pin, half hidden by a shrub.
Look at folded laminated paper.
J: It's a map of the… sewers of Thimbleweed Park.
Pick up map of the sewers. Look at spyglass.
J: Who has a charged spyglass in his yard ? Do they extort money from their guests ? Or maybe this house is a vacation rental.
Use Spyglass.
J: I don't have any coin. Oh ! I could try to open the drawer that receives them.
J: There's a lock.
Use cartridges on lock.
J: I don't have anything to light the powder.
If you've already found the lighter:
J: Ok, so you want me to use the powder from the cartridges, light it with the lighter and destroy this piece of equipment which isn't mine and lose one or two fingers in the operation. Life is more ruthless than a Mmucas Flem adventure game you know !
Go to the top right corner on the screen and click on the flashback. Back in Justine's apartment; go to the kitchen look at the tasteless bowl filled to the rim with random junk.
J: I might need some change.
She picks up several coins. Back to the present, these appear in her wallet. Use coin on spyglass.
Justine drops a coin that directly falls from the cliff. She remains still a second without saying a word before slowly putting two coins in the spyglass. She quickly spots Delores walking around in the city. A city very different from the one we know. There's a school, there are more houses, a few are falling in ruins granted, but they're there.
One after the other Justine zooms on the circus, the factory and the Edmond hotel. She spots Ransom the clown who is having an agitated conversation with a woman dressed in blue in front of the circus. There also are pedestrians and cars although the city seems a bit deserted. The lens of the spyglass becomes blocked.
J: Damn, I shouldn't have bought that blueberry sandwich back on the interstate rest area.
Behind the spy-glass, there is a little diner table, three chairs and a brick barbecue. The backside of the house has a beautiful French-door. Look at French-door.
J: The lock was forced.
Walk inside the house. Justine refuses.
J: I'd be dead before I reach a light switch. My heart simply won't endure that kind of treatment.
Use the flashback button.
Here again, there are two places where to find the flashlight and the first one will never work.
1-Go to the storeroom, it's hidden behind the cardboard box that fell earlier; you could actually have picked it up at that moment. Just like the coins.
2-The second place is actually in the present, in the glove box of the car. So if you've checked the glove box when picking up the map at the beginning of the chapter it removed the possibility of finding the flashlight there.
If you find it in the flashback it'll appear in the bag in the trunk of the car so you still need to go back to the car before entering the house.
Now, back to entering the house. Use flashlight on French-door. You enter the house and find yourself in near complete darkness. The light switch is hidden behind a trench coat hanged on a coat rack. The circle of light produced by the flashlight follows the cursor, only slower. Push trench coat, use lightswitch.
You're in a corridor in front of the bathroom door. Scroll left to reach the kitchen of the house. You'll most certainly spot the intruder that hides in the background just like the coroner at the police station. Justine doesn't see him. If you try to go any further in the house she will always give the same answer.
Ex: Walk to stairs.
J: I can't… I'm too scared right now.
Look at disposable camera.
J: Some people are… I can't remember the word, they're scared of clowns. I'm scared of being forced to become one. My most Orwellian nightmare is a world in which everybody constantly takes pictures of everybody so that we all end up perceiving ourselves as two-dimensional entities. Characters in a book, in a movie, in a videogame prioritarily focussed on how they are perceived and not on who they are… or thinking that they are nothing more than how they're perceived... a long collection of creepy smiling faces with nothing behind, just like the face of a clown, all of them neatly ordered in a book. I know, I know, that's exactly where we're heading.
Look at kitchen bin.
J: Oh. There's a broken glass in here… and a broken plate… and a fork... and the equivalent in food of an entire meal.
J: I don't feel so good. (this remark is triggered according to the number of clues Justine's spotted that you're on a crime scene)
At this point, if you haven't picked up the cartridges from the shotgun, someone comes in, the screen goes black, there's a gunfire sound and you restart outside the house.
Use chair.
She sits down on the chair and mechanically grabs the towel on the table to wipe off her forehead.
J: Oh… there's blood on this towel.
Look at phone.
She doesn't describe it.
Use Phone.
J: The line is cut.
Justine's face becomes green and she faints.
Depending on the order of your actions, she can lose consciousness for different reasons.
She can make herself some coffee with water from a bottle and fall asleep (the bottle contains a soporific). She can be knocked unconscious by a mysterious individual who looks different from the ghostly one off the original game.
Part 3: The Premonitory Dream.
Justine is walking around a factory that resembles Pillowtronics by night. You can have her circle the entire building but the sole way to enter is the opened window on the left side of it.
Use grappling iron with high window.
Justine penetrates the factory and lands on the floor like a ninja, silently and gracefully, after a fall of several meters.
Use glowstick.
You can find the lever that turns on the power in complete darkness but it's a lot easier using a glowstick (you have two in your inventory). It's at the right of the room, but not at the right end. Use lever, push large button.
It turns the light on but also the assembly line. And it wakes Delores up. She is handcuffed to a pipe of a machine.
D: What are you doing here Justine ?
J: I came to save you Dee. Who did this to you ?
D: My uncle… he has become completely insane. He doesn't want me to leave Thimbleweed Park.
Look at giant strangely shaped machine.
J: This machine has something creepily organic to it.
If you watch attentively, the machine is shaped a bit like a heart. Its pipes are positioned exactly like the superior and inferior vena cava, the three aortas, the pulmonary artery, the pulmonary vein. When a metallic part is swallowed by it the rhythm of the laser that shapes it follows the one of a heartbeat, and its bass sound also conveys the same impression.
D: Can you set me free ?
J: Yeah, wait, I'll see what I can do.
Open the door. Walk outside. Walk to the other side of the building. Walk to ruins.
Here, what you want is the sledgehammer that you can spot resting on a collapsed wall on the second floor. There's no staircase anymore.
Look at rusted pulley. Look at chains. Use chains.
If you try to climb up the chains of the pulley, Justine only lifts a concrete block instead. You need to pick up the chain and attach it to an alloy bar that sticks out of the ruins and then use the other chain to climb.
Pick up Sledgehammer.
Back to the ground you can find a picture inside what used to be the hall of a building.
Pick up picture. Look at picture.
It's a black and white picture of a man holding a woman in his arms.
Go back to Delores. Give burin to Delores. Use sledgehammer on burin.
Justine swings the sledgehammer and hit the handcuffs straight on the chain. Delores is freed. She stands up.
J: Let's leave this place.
D: Wait ! Don't you have anything to show me ? (She cannot know about the picture but it's a dream remember)
Give picture to Delores.
J: Is this your Dad and your Mom ?
D: No. I don't know these people.
Justine turns toward the player:
J: It's weird, I'm pretty sure that I'm dreaming and that this picture was supposed to be one of Delores' parents. I mean... the woman is exactly how I imagine Delores will look in ten years.
Chuck enters the room, laughing.
C: Justine, I think you might be mistaken when it comes to your role in this story. Delores doesn't want anything from you, she's perfectly fine.
J: Delores, let's leave this place.
The ginger girl ignores her, turns around and starts assembling parts on the assembly line. Another Delores enters the screen.
D: Justine, I'm fine. I don't know how you put that idea in your head that I needed you. It's a thing with lonely girls: you always feel the need to poke your nose in other people's lives trying to make yourself useful when really you're just being a drag.
Justine closes her hands firmly on the stick of the sledgehammer.
J: I'm not that.
Use sledgehammer on Delores (the one that just arrived).
She hits Delores straight on the skull. The robot splits into two parts which fall to the ground. A third Delores appears on screen.
D: Are you crazy ? Do you know how much this piece of technology is worth ? Now Justine, you're overstaying your welcome.
Use Sledgehammer on Chuck. The tool goes through the hologram.
C: Delores, I think you should accompany your friend to the door.
A new side of the heart-shaped machine opens and delivers a Delores prototype, and another one a second later, and then it's a copy of Justine that stands up.
J: What !?!
The double walks straight to Justine, grabs her by the neck and lifts her from the ground.
Part 4: The Link to the Body.
Justine wakes up in the sewer/prison where Reyes or Ray was already locked up earlier (if truly they ever were). The young woman is shaken. She massages her face for a second before standing up.
J: I don't know why I made this dream.
Use burin on crate.
She breaks open one of the numerous crates and half a dozen stuffed teddy bears roll on the floor.
J: Yep ! That's exactly the kind of ominous stuff I was expecting to find in a crate in the underground cell where I'm being held captive.
Other Teddy bears but there is also a box of fake metal coins.
Pick up coins. Walk left. Look at skeleton arm.
J: I think I was captured by a serial toy thief.
Pick up skeleton arm.
J: Wait… it's not a toy.
Go to the room with the phone. Use fake coin on phone.
J: It doesn't work, these coins are too light and thin.
Go to the room with the ladder that gives a view on the Quickie Pal.
Use coin with slimey matter. Use coin on slimey coin.
J: Ok, I'm sure that in fifteen minutes they'll be relatively well stuck together.
The screen fades to black. "Thirty minutes later"
J: Ok. This weird substance doesn't seem to want to dry.
Use lighter on coins.
J: Yeaah. Now if this doesn't work, I'll have a nervous breakdown.
Go to the phone. Use carefully faked coin on phone.
Justine automatically tries to phone a friend but it doesn't work. She types a random phone number but the person doesn't want to help.
Go to the corridor with the door.
The Sheriff arrives.
S: Oh hello-a-reno, I am the sheriff of this nice county. What can I do for you little lady ?
J: You could get me out of here for a start.
S: Sure I could. But I haven't come to this part of the sewers for ages. I don't think the police station still owns the keys to this door-a-reno. I'll need to find the proper tools to get you out of here. You might have to wait until tomorrow.
J: …
The sheriff turns around and disappears in the shadows. You can also obtain the same result by calling out to someone who passes by in front of the Quickie pal. It'll trigger a visit of the sheriff who'll explain he cannot help you.
Use Burin with prison door.
Justine holds the burin horizontally against the bars of the door.
Use bloody towel with burin.
Justine attaches the towel around the burin and the bars.
Use burin.
She turns the burin counter-clockwise that which makes the towel exert a pressure on the bars and slightly bend them towards each other.
Repeat the same operation with two other bars. Eventually, the two central bars are both bended away from each other and leave enough space for Justine to go through.
Walk outside the prison.
J: Now… shall I carry on trying to find Delores or should I simply run away from this death trap of a town ?
Use map of the sewers.
The map of the sewers shows a network that is a lot more complex than in the root version of the game that which suggests more houses and buildings in Thimbleweed Park. Also the tunnels that have collapsed and which are blocked by traffic cones are here in perfect condition. However, you won't be able to explore the sewers entirely as Justine will not be interested in doing so. You can only click on the available places, no labyrinthine wandering here.
There's the fridge, Willie's place, the entrance and a manhole in street A under Nickel News. To have it become a destination on the map you need to use the journalist card on it.
If you ask Justine to open the fridge in St A, she answers:
J: I've discovered enough dead bodies for today thank you.
The giant dinosaur skeleton isn't anywhere to be seen.
There's no cut tree at the entrance of the underground sewers. Justine walks to the river and comments:
J: The atmosphere is even gloomier than in the sewers here.
Boris' corpse isn't there.
If you ask Justine to walk to the highway she refuses.
J: I have a better plan than walking through the city in the open when the police is clearly in on whatever is going on here.
Walk to the sewers entrance.
Find Willie's place. He can be heard practicing his violin. No screwdriver to be seen.
Talk to Willie.
J: Hello.
He jumps out of surprise.
W: Who are you ?
J: I'm a friend of Delores Edmond. Do you know her ?
W: Yes, of course she's Chuck Edmond's niece. The poor girl has just learnt that the crazy bastard didn't leave anything for her in his will.
J: How do you know that ?
W: Her sister Lenore was so outraged that she spilled the beans to everybody in town… although I'm pretty sure she'll regret that very soon. If you're Delores' friend why aren't you with her right now ?
J: She doesn't know I'm in town.
W: That's… curious, to say the least. Why are you here then ?
J: I don't know anymore really… I thought she might need a support that she didn't dare ask for.
W: That's the situation she's been in all her life. I don't know if you can do anything about it now.
J: But… what happened to her ? I've got this strong and vague feeling that there's something that needs be unveiled.
W: I can't help you beautiful… I don't know if anybody can help Delores. The poor kid has lived in a fake world all her life…
He remains still one second before returning to his senses.
W: You should go do whatever you think you should do. Don't waste your time on me.
Go to manhole A. Push manhole.
Justine climbs the ladder but she complains that the manhole is too heavy. Look at the different boxes around, and pick up five objects randomly. Pick up "Suspiciously sticky toy" "Slimey rotten purple fruit" "Smelly plastic cube" "Mouldy box of tube shaped cereals" etc…
You'll need to push, pull, open or close boxes to reveal these objects. Justine states "it could be a lifesaver" or "it could be useful" each time she is asked to look at them.
Picking up all these objects will trigger an event: the sound of a car engine starting and the manhole trembling slightly. Push manhole.
This time Justine manages to lift it and exit the sewers. She rubs her hands and scrubs her clothes a bit and then throws everything she's just picked up back in the open hole.
J: I think I was just panicking there.
She is now in front of Nickel News. There is a beautiful house behind the building of the newspaper.
Walk to Nickel News.
She replaces the manhole and enters the journal. There's nobody inside. A car with its headlights on passes by and stops abruptly in front of the building after turning around. Justine looks through the window.
J: Of course. (she realises it was the car that was parked on the manhole)
Natalie enters the room.
N(enthusiastic): You ! How did you manage to come here ? I have a few questions.
She walks toward her typewriter while Justine positions herself on the other side of the counter. They're interrupted by the radio attuned to the police frequency.
S: Attention all units… suspect 43 is living the building probably to go meet suspect 86 at usual rendez-vous point.
N: Oh my… I absolutely need to get this. It's a very serious case I've been following for months without going anywhere.
Natalie rushes out of the building.
N: Come back tomorrow !
If you wait for her to come back, she will reject your next attempt at a conversation because she is busy, until she isn't anymore and you will then be interrupted again by radiotron 3000 in the same manner. You need to push the printing press in front of the door so that Natalie remains blocked outside when she comes back. Then open the window on the left of the screen and exit the building. When she comes back, Justine can talk to her.
N: Dammit, there's something blocking the door !
Talk to Natalie.
J: My name is Justine, I'm a friend of Delores Edmond and I'm here to see if she could need my help.
N: Sounds like you're the one who needs something.
J (Impatiently): Yeah I know, but I'm not.
Natalie stops pushing the door.
N: But it's true that Delores' situation is pretty serious.
Justine somewhat loses her cool: What is going on with her ?
Natalie remains silent, scratches her head.
N: I think it would be better explained inside with a good old newspaper article.
J: Ok but don't get any close to that radiotron 3000.
Open Window. Enter Nickel News. Be careful not to pull the printing press from in front of the door otherwise Natalie will enter, hear an interesting radio transmission and will leave the place immediately telling you to come back on the next day.
Look at Radiotron 3000.
J: I need to make this machine dysfunctional.
Leave Nickel News. Discretely walk to the end of the city.
Justine appears in front of the Quickie Pal. Again there are more buildings than in Chuck's simulation, and several passers-by.
Walk to Quickie Pal.
When entering the Quickie Pal, you'll notice that there's a staff room behind the shelves on the left.
Leonard: Welcome to Quickie Pal. Can I help you find anything ?
Justine freezes and then leaves the shop. Outside, she breathes heavily.
J: I'm so ridiculous.
She presses her hand against her face and expires.
J: Yes, being attracted to a man drives me nervous, leave me alone.
She rages on her own.
Leonard (using a different tone): Welcome to Quickie Pal.
Talk to Leonard. Justine sighs.
Leonard (He talks in a noticeably more mature tone than the Leonard from the root game): you're not from Thimbleweed Park are you ?
Justine: No, I'm from the city. I'm here to see a friend.
Leonard: Oh… who's he ?
Justine: It's a girl.
Leonard: Did you come here by bus ?
Justine (fake pride): No, I drove my yellow car.
Leonard: So you drove all the way from the city to Thimbleweed Park to see a female friend of yours ?
Justine: It's not what you... suggest. Long hair really doesn't look good on me.
Leonard: Well, at least short hair does.
Justine inspires and expires slowly (gathering courage).
J: I see a coffee machine over there, is it possible to have a meal here ? I could really do with a break… I had a long day… a very long day indeed.
L: Well, not really, but as it's very late you can go in the staff room, there's a table and chairs. Just bring what you wanna eat to the checkout; I'll make you a coffee.
J: Thanks.
Here you can pick up a few different items to eat them: chocolate bar, ham and cheese sandwich, lemon pie… more important pick up the cutting-pliers, at the bottom of the shelves. To pay Leonard use wallet on him.
The game enters a long cutscene.
Justine enters the staff room and Leonard follows her with two coffee mugs. They sit down at a rectangular white kitchen table covered with a flowered tablecloth.
J: I'm Justine.
L: Leonard…
Justine takes a bite at whatever she's eating.
L: So… who are you visiting here ?
J: Delores Edmond.
L: So you're here because of Chuck's death.
J: More or less… I don't know why I am here... I had a hunch that something harmful to Delores was about to happen and that I'd be the only one to care.
L: Her father's disappeared a few weeks ago you know that.
J: Yeah.
They pause. She takes a sip of her coffee and thanks Leonard again.
J: Do you think Chuck could hurt Delores ?
L: Given that he's dead it's less likely to happen but yeah, Chuck Edmond was a total psychopath and he's done everything he could have done to prevent Delores from living a normal life.
J: Like killing her mother ?
Leonard looks shocked and sceptic.
L: This I don't know, I didn't live in Thimbleweed Park at the time Delores Edmond died. But I've got a few other examples of Chuck's insanity.
J: Delores' mother is called Delores ?
L: Yes.
Justine makes a disapproving sound with her mouth.
L: At the time she died, Ransom the Jerk Clown's career took a dive. There are many people here who think it was due to his propensity to insult Chuck during his shows and to try to discredit his accomplishments. There's also Willie Waylon.
J: The bum ?
L: Yeah. Dated an ex-girlfriend of Chuck, his watches repair-shop burns and he loses everything.
J: Ok.
L: Who else ? The Spanish guy who worked in the pillowfactory and took the blame for the fire. Chuck Edmond just gets rid of whomever causes him trouble.
J: And there's you: the guy who tried to date his niece.
Leonard laughs.
L: How do you know that ? Did she tell you anything about me ?
Justine shrugs.
D: No, I didn't know. It just wasn't going to cost me anything to bluff, so I did (she smiles). And sorry, Delores doesn't speak about guys even though it's written on her forehead that she craves for that kind of attention. She really needs a private investigator if you want my opinion.
L: I can understand why she wouldn't talk about guys. It took me time to realise it but I now think that Chuck Edmond pretty much destroyed my life because I slept with her. I was actually naïvely hoping he would put something on his will for me out of guilt… in some sort of desperate attempt to leave this world with his conscience clean. But he went as far as not giving anything to his own daughter figure so…
J: What did he do to you ?
L: Well, first, this shop is called Quickie Pal because of him.
J: Really ?
L: What's strange is that he renamed it after Delores left. Not before. And he came two times to take pictures of it once it was done. He didn't talk to me. He wasn't particularly condescending. So, if he did that nearly ten years after Delores and I slept together as a revenge, it's a particularly long grudge to hold and a very strange way to satisfy it. I figured it was because he believed that without what had happened between me and her, she wouldn't have found the strength to leave maybe.
J: That actually makes sense; if you're the only one with whom she ever had something going on, I suppose it made a great difference. And if she had found someone at Mmucas Flem, I wouldn't be so worried about her now… did he take revenge back then ?
L: Yeah… Today I strongly believe that he took initiatives to have me fail my first year in highschool so that me and Delores wouldn't be in the same class anymore. I cannot prove it, and it took me a long time to fathom enough confidence in myself and in my intelligence to dare think it… but there were strong strokes of bad luck… intolerant teachers… unjustified punishments… and my Dad who has a serious car accident the week we had to pay for the school trip that me and Dee were impatiently waiting for. At some point, it simply felt like our relationship wasn't meant to be and I went to another girl with whom it felt easier, and stress free… my life had become such a mess that I couldn't believe I had anything to offer to a girl like Delores anymore.
He chuckles bitterly.
L: I had never thought of it, but now that I think, he might simply have paid a girl of the school to flirt with me.
He shakes his head.
L: Anyway… that's the level of paranoia you should quickly reach if you put your nose in Chuck Edmond's business. He thinks every single inhabitant of Thimbleweed Park owes him their life.
J: Isn't Delores aware of… all this ?
L: No… and that's also why it ended between me and her. She wouldn't look into how disgusting a person he is and so we got into fights and I found myself indirectly arm wrestling with her uncle, and losing. So, there was no point continuing… but I think Delores never saw things this way. She held a grudge against me for giving up on her "so easily" as she said. If only her stupid dad had had the guts to tell her that Chuck was an asshole, everything would have been different.
J: Yep. Do you think Chuck could have killed him ?
L: Only if he was trying to get Delores for the last time… a last desperate move to ensnare her forever… what are you thinking of ?
J: I still don't know, but it sounds more and more worrying.
There's a little pause in the conversation. Leonard offers Justine another coffee, she accepts. He closes the shop and comes back with two replenished mugs.
J: Have you seen Delores since she came back ?
L: She passed by today but it's like she's forgotten whatever happened between us or like she wants me to feel bad for it… whenever she talked to me in the last few years, most of the time she'd ask me news from my cousin Bernard. It's true that he'd suit her more than me, still it's not as if I was the village idiot or as if Bernard had ever tried anything with her.
J: Is he some kind of a nerd ?
L: Yeah, if Chuck wanted her to have a boyfriend, it would be a guy like Leonard: a guy who is totally caught up in his science and his books and who would be too socially inept to find the spine to stand up to the uncle.
J: Delores has met a good number of nerds at Mmucas Flem but they literally see through her. My male colleagues come to me to complain about how invisible they are to women. They complain about their unpopularity on a regular basis, do little and have incredibly high and debilitating standards.
Leonard chuckles.
L: Well, there's a frustrated woman.
J: I am hurt too.
She lowers her eyes, blushes and brings her mug to her lips.
L: What do you intend to do now ?
J: My plan was to come to Thimbleweed Park, snoop around a little bit, just listen to what people would have to say on the matter that they might not be telling Delores and then find her.
L: So she doesn't know you're coming ?
J: No.
L: You should try to phone her maybe.
They call the Edmond Mansion, no one answers. Justine stretches out her top clumsily.
J: Ok, thank you very much for the coffees, your time and everything you told me. I need to go now.
Leonard nods.
L: Ok. It was a pleasure meeting you Justine. If we survive tonight I'd be happy to see you again.
J: Yes, of course. I'll pass by Quickie Pal for a coffee… the name is really tasteless.
She bangs her shoulder against the opening automatic doors while leaving.
Walk back to Nickel News.
She doesn't react.
Walk back to Nickel News. She turns toward the screen.
J: Leonard had me kinda worried with his "if we survive tonight."
J: I think I should take a bit more precautions.
J: There are things more important than Delores.
Walk to Quickie Pal. Talk to Leonard.
She gives him a passionate kiss on the lips. He smiles. She waves at him and leaves the shop.
J: Ok. Now, on with my business here.
Look at ominous light.
J: The lights of the house on the mountain are on.
Walk to Nickel News. Open window. Enter Nickel News. Use Cutting-Pliers on Cable (the cable of the radiotron 3000). Pull Printing Table.
Natalie eventually enters her office again.
N: So Justine, what were you asking me again ?
J: I simply wanted to know what was going on with the Edmond family and with Delores.
N: Look into the third pile of newspapers from the left, the big one, that'll be a good start.
J: What am I searching for ?
N: Well… you know better than I do.
Look at newspapers. Among all the titles select Tragic accident at the Edmond Hotel. The summary of the article says that in June 1977, Delores Edmond killed herself by accident with a chainsaw in the bedroom of the penthouse.
J: I found the article. How did that happen ?
N: What ? The accident ?
J: How did the article was published ? It's clearly a lie. This version is ridiculous.
N: I don't know how it was published but true… I believe it's a lie.
J: And you never looked into it ? Is it not that kind of stuff the point of your job ?
N: Yes, but I'm only one woman for a lot of stories. I have to chose according to the relevance of the case and its feasibility. Also, many truths people have to find out for themselves.
J: So it's not Chuck ?
N: I don't know… what I do know though is that he was in love with Delores' mother and that he never recovered from her death.
J: Hence the creepy relationship with his niece.
N: I like the way you put it. I wish Delores could see things this way, but her mother died when she was very young and she was raised in a very chaotic environment. Her sister Lenore couldn't find balance either. She praises and praises Chuck but her husband is more like a Franklin so… it's hard to know whom she truly prefers. It's a bit as if both girls truly wanted Franklin's love, but Chuck's pride. Something like that.
J: She never talked to me about her mother's death…
N: I don't know if she remembers it. I think she really needs someone right now. Do you have a place where to sleep tonight by the way ?
J: I have a room at the Edmond Hotel.
Natalie doesn't look too convinced.
N: Maybe you should try to meet Delores tomorrow. Also, you could sleep at my house. The Edmond Hotel isn't the best place for people who are suspicious of Chuck Edmond.
Part 5: A Last Gesture.
Justine is in Natalie's car. They are going back to the journalist's home.
J: I know it's late but could we check whether Delores is back at the mansion ? I came here because I didn't like the idea of leaving her alone, and from what I've learnt, her situation is even more dramatic than I thought.
N: Yes... of course. The mansion is just a bit further on the same road.
Suddenly, a massive explosion deafens and blinds the two women. Natalie chaotically brings the car to a stop as smoke surrounds it.
N (shouting): What was that ?
J: I don't know ! Something exploded over there in the field ! There was nothing !
N: You mean it was a bomb ?
J: I mean it was in the middle of a field.
N: If there wasn't any building there wasn't anything that could have exploded ! It means it was a bomb ! I need to go check. The cops will be here in a minute. We need to wait for them.
J (she starts panicking): What ? Are you crazy ? The cops most certainly are in on this !
Natalie shrugs and chuckles.
N: Calm down Justine. No need to lose your mind over this. It's probably an idiot who was playing with explosives.
Natalie leaves the car and walks around in search for clues on what happened.
If you get out of the car, talk to Natalie, explain her that you think you're being watched on from the house that overlooks the town and that there was a murder there, she decides to accompany you and dies a few minutes later. So, let's not talk to her.
Use steering wheel.
Justine takes the car and follows the road cautiously, there's still smoke from the explosion. When she emerges from the grey cloud, she has left town, the Pillowfactory appears in a distance on the left side of the road, isolated, huge and ominous.
Justine spots someone who is holding a flashlight at the intersection where she should turn towards the factory.
J: Damn! Why are you here you idiot ! As if I wasn't scared enough already ?
She recognises Leonard and stops the car at his level.
J: What are you doing here ?
L: What happened !?!
J: There was an explosion.
L: Seriously ? This was huge ! Are you alright ?
J: Yeah, I'm just terrified.
L: Delores entered the factory with Ransom and two Federal agents a moment ago, then about half an hour later, everything closed down again.
J (tensed): Do you think they accidentally triggered the explosion ? I mean, do you think the two events are related ?
L: I don't know.
Justine parks the car in the car park of the Pillowfactory and gets out. (Again, the pillowfactory is a bit different from the one in Chuck's simulation; there are more ruins and collapsed buildings and the windows are sealed by metal plates).
J (annoyed): Why did she have to go tonight !
She looks at Leonard.
J: Did you search around ?
L: Not really, I came here in case I found Delores on her own that's all… or you.
Walk left. Look at pneumatic drill.
J: I don't know how to use this.
Pick up pneumatic drill.
J: I'm not even convinced it still works.
Look at yellow hard hat.
J: I don't remember any attempt at demolishing the pillowfactory being talked about in Fourty Years of Pillowtronics.
Push concrete bloc.
J: It's too heavy for a videogame designer.
Talk to Leonard.
J: Can you help move this block ?
They move the block.
J: Surprise, surprise.
You can go back to the door that has no handle which leads in the corridor next to Chuck's office (in the original game) and try to break in using the burin and the sledgehammer but Justine and Leonard give up after a few tries.
Carry on looking around in the ruins, on the extreme right screen, you'll find a paint sprayer under a brown piece of rag.
Pick up rag. Pick up paint sprayer.
Go back to the screen where you found the sledgehammer. You'll see a metal plate that half hides a metal grid.
Push metal plate. Pick up metal grid.
It reveals an air vent.
Use air vent.
Justine enters the air duct and crawls inside of it until she reaches an underground room.
Push air vent.
If you click on the floor, she jumps out of the air duct, is noticed by a camera, a smoke blocks the screen and we hear Justine suffocate.
Use paint spray on camera.
She paints the eye of the camera near the air vent. However, if she jumps to the floor, it still triggers the alarm and the toxic smoke.
Walk to/Use table.
Justine gently lets herself off the air vent on the closest table (under the camera).
Pick up arm-gloves. Open closet. Look at bottles.
J: I don't know what these are. They contain liquids, that one small grains and that one contains a white powder.
Pick up bottle with a spout. Pick up bottle of unidentified white powder. Use powder on floor.
Throwing white powder on the floor reveals a red surface laser.
J: Ok, I have to reach the door without stepping on the floor.
There is a hose hanging from the wall to which it is fixed. Use sledgehammer on hose. Justine uses the head of the sledgehammer to catch the hose and is now holding it.
Use hose on pipe.
Tying the hose to the pipe nearby Justine straightens it out, it now can be used to support her.
Use taut hose.
She reaches the other end of the room and can now climb down the furniture. Leonard appears at the air vent and crosses the room after Justine warned him about the laser. The exit door is closed.
Go back outside. There is a small barrel of acid with a recipient at the bottom (one screen up, on screen left). Use arm-gloves on recipient. Justine plunges her arm in the acid and takes out an eroded cup of the corrosive liquid. She won't accept to walk around with it.
Look at spouted bottle.
J: I think it's made out of an acid resistant plastic like teflon.
Use acid filled recipient with spouted bottle.
Go back to Leonard. Use spouted bottle filled with acid on doorlock.
Use burin on doorlock or give burin to Leonard.
Both actions will trigger the same initiative. Leonard holds the burin on the lock and Justine hits it with the sledgehammer until it gives way.
Exit the room. Leonard and Justine walk across several screens of pipes, machinery, computers, flickering lights and assembly lines. One path is garded by a SR-01 unit in patrol mode. There's also a tube-shaped elevator that needs a special card to be entered.
The assembly line can be stopped using the computer on the third screen. Look at computer. Click on the third proposition. (The first proposition also gives you a mysterious code).
On the right side of the computer there's a near invisible screwdriver (a few red and grey pixels). Pick it up.
At the assembly line inspect the machine closely, you'll find a magnet. It's more easily noticeable when it functions because it attracts the parts that are then welded together.
Use screwdriver on magnet.
Go to the screen where a SR-01 unit is patrolling. You can notice that there is something on the floor. It resembles a wallet. Use the magnet on the wallet.
Open wallet.
Arthur McCole ID and Pillowtronic card. There is an enigmatic piece of paper on which is written 16-09.
L: It's Delores' birthday.
J: Ah yes, that's true. Two days before mine.
Go back to the elevator; use the card on the control panel. The door opens.
Use control panel.
The elevator ascends and stops suddenly.
"You're not part of the personal of the factory. You have twenty seconds to enter the identification code specific to this elevator or you'll be arrested."
Type the code from the computer on the numeric keypad, Delores' birthday is a red hearing.
The elevator restarts and ends its ascension. The door opens, Justin and Leonard find themselves in the corridor in front of Chuck's office (behind the door with no handle).
Leonard says he's going to check the other path. Justine enters the office; its windows are blocked by metal plates.
Chuck's computer version hails Justine.
CCV: Here you are finally: the best friend.
J: This expression always meant hypocrisy to me.
CCV: Well, Delores seems to think you are hers. And you're here aren't you ?
J: Where's Delores ?
CCV: She's downstairs, desperately trying to find a reason to carry on living.
Walk to trap door.
CCV: No, no, no wait.
The trap door closes.
CCV: I have a proposition for you but I need to ask you a question first. Do you believe that a human brain can be uploaded to a computer ?
Chuck's computer version asks you if you can convince Delores to join him, adding that if you manage to do so, you're welcome inside Pillowtron 3000 too. Immortality, infinite knowledge etc... but mainly:
CCV: And you wouldn't have to be the one to force her to give up on her desire to please me and earn my pride.
Just chose "ignore the conversation." Leonard reappears and explains that the path is blocked by lazers.
Look at the computer.
J: It's very strange, this program controls many variables inside the factory but treats them as if the whole world was a simulation... just like an adventure game.
(If you haven't picked up Galaxy Warrior and the Basic file editor in the flashback, now is a good time to do so).
Use Basic file editor on computer.
Chuck's Computer Version is shut down. The trap door opens. Justine goes down the ladder.
Delores, Reyes, Ray and Ransom (who is not wearing any make-up and is carrying a chainsaw) are there.
D: Justine !?! What are you doing here ?
J: I was worried about you and I decided to check whether you were fine. What's going on ? Why are you in the pillowfactory ?
D: I… I just want to know why Uncle Chuck has become so mad. I don't understand what's going on in my life anymore.
J (to Ransom): Why are you carrying this !?!
Ransom: What ? Oh, the chainsaw ! We ran into a few obstacles. I guess I don't need it anymore.
He drops it.
There are a few lines you can tell Delores but if you try all of them you'll fail. Delores will thank Justine for all that she's done, the risks she's taken etc… but will suddenly enter the pillowtron 3000 room explaining that "she has to know" before the automatic door closes. Justine shouts : No ! and then states: Damn ! I'm such an idiot.
Then, we can admire Thimbleweed Park from the vacation house that we visited earlier. There's a man looking through the spyglass. He resembles Chuck but it's hard to be sure. The town explodes. Game over.
Instead of trying to talk about all the topics (her mother's death, her dad's disappearance or the fact that Chuck is really insane) click on "end conversation" after having done two of them.
J: Delores, before going any further and taking any dramatic step, you should know the truth about your mother's death.
D: …
J: Delores, You cannot enter this room. Your uncle is not trustworthy, he doesn't care about anyone but himself. He's killed people and destroyed the lives of many others. He's a *beeping* *beephole.*
Ransom: I'll second that.
End conversation. Pull Delores.
Justine grabs Delores' arm and slowly draws her friend nearer.
J: I understand that you've been through a lot. I don't know what's behind all this but I know that if you enter this room, we're all going to die… I came here for you and I don't want to die, so please Delores, stop deluding yourself.
Delores clutches Justine and starts crying on her shoulder. And then she cries even more intensely. She slowly becomes incapable of carrying herself and both girls kneel down clumsily.
Ransom starts crying too: Ho Delores ! I'm so sorry ! I've been the worst jerk. I'm so sorry ! It's all my fault !
Ray and Reyes look at him intrigued and then look at each other.
Delores rests her head on Justine's legs and remains in fetal position still crying while her friend strokes her hair.
Leonard appears at the top of the ladder, climbs down.
L: Well, we might wanna find a way to exit this nightmare now.
The screen fades to black.
Epilogue (a few days later)
We are at the Edmond Mansion. Antonio Reyes is in the yard, on the phone with his mother, he explains that Chuck's journals have been found and prove his dad's innocence. Inside the living room resonates DJ Cassie who explains that bomb-disposal experts are scanning the whole evacuated town for more C4 charges. Leonard is standing near a large table, he turns off the radio. Justine is sitting at the same table with Angela Ray and Brant Bailiwick. She is eating a sandwich, Angela and Brant are sipping a coffee. Delores is laying in a sofa near the lit fireplace. Ransom is sitting silently in front of her.
Brant: I think it is possible to prove with these journals that Chuck Edmond had become insane when he modified the will a few months ago.
Angela: Even more so if we can find Franklin's body.
Brant: However, I think Delores should be followed by a psychiatrist. I did my best to prevent all this from happening. She had to decode this will for me to read it. She would have known its content before the reading, if she had had any sense of self-preservation. Chuck Edmond was insane, but he left her a lot of opportunities not to make his plan happen. Without you Justine, Thimbleweed Park would still be about to become a server farm and who knows what use Chuck had programmed for it.
Delores: Ransom ?
Ransom: Yeah ?
Delores: Tell me how my mother died.
Ransom sighs.
Thimbleweed Park (Edit) : They used not to be in a videogame (455 words)
Thimbleweed Park : Delores Did Go to School (100 words)


Why my audio receiver connected to the HD receiver via HDMI is not working properly?
My receiver seems blocked and not responding to the remote control commands. What should I do?
Is there a new Software version available for my product ?
I have loaded the software version 6.20 but I have an issue with the audio. What should I do ?
Why can I not schedule an instant recording (One Touch Recording)?
Why can I not upgrade my product via USB (USB key content not recognised, HD recorder not starting ...)?
My recordings are able to be set and happen but they are no longer show in the library. Why ?
What are the main change with the latest software version?
Although I have set Audio capabilities to "Auto" for HDMI or "Dolby Digital" for S/PDIF, my HD receiver does not deliver proper Dolby Digital 5.1 multi-channel audio output quality.Why ?
Can I format the hard disk while a USB key is connected to my HD recorder?
Why I cannot find any HD channels ?
I cannot find all the channels I think should be available even after retuning my HD receiver.
Why some channels in the EPG are displayed without programme information and instead have the message "no info availalbe-other network"?
Why I can't record radio channels using the manual timer ?


text:
Cal State Long Beach
California State University at Long Beach - also known as Long Beach State, Cal State Long Beach, CSULB, LBSU, or simply, "The Beach" - is the largest campus of the California State University system and the second largest university in the state of California. The Long Beach campus is one of west's top universities/master's institutions in student body diversity and is home to the largest publicly funded art school west of the Mississippi River. It is located at the southern coastal tip of Los Angeles County. This public university was established in 1949 as Los Angeles-Orange County State College by California Governor Earl Warren, to serve the rapidly expanding post-World War II population of Orange and Southern Los Angeles counties. At its inception, the college consisted of 25 courses taught by 13 faculty members in two apartment buildings at 5381 Anaheim Road in Long Beach. The proposal to purchase 320 acres for a permanent campus was overwhelmingly approved by a vote of the citizens of Long Beach in June 1950. The new complex cost nearly $1,000,000. In 1962, the state college changed its name to California State College at Long Beach, in an effort to tie into the state system and enhance its prestige. In 1972, Cal State Long Beach acquired university status along with 12 other state college campuses. In the same period, the campus became the home of the largest library facility in the 19-campus CSU system - a modern six-story building with a seating capacity of nearly 4,000 students. The campus is believed to be on the location of an ancient Tongva village and burial site known as Puvunga and is listed on the National Register of Historic Places, as such. The university campus currently spans 323 acres with 84 buildings and is located three miles from the Pacific Ocean. There are 18 residence halls which are divided into five communities: Parkside, Residence, Los Alamitos, Los Cerritos, and the International House. The campus is home to a renowned University Art Museum that ranks in the top 10 percent of the nation´s 6,000-plus museums. The university also is home to the Earl Burns Miller Japanese Garden that features a large pond loaded with Koi. Cal State Long Beach has seven academic colleges, among them the College of the Arts, College of Business Administration, College of Education, College of Engineering, College of Health and Human Services, College of Liberal Arts, and the College of Natural Sciences and Mathematics, as well as an Interdisciplinary Studies program. It offers numerous classes and majors - the liberal arts and sciences represent the general education core, while a variety of classes make up general education electives. In addition to academics, the college provides for recreation and entertainment through intramurals and other club sports.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: LDAtuning Package I try to find the optimal number of topics in the LDA algorithm for my database. For this purpose I try to use the package "ldatuning". After the implementation of the LDA algorithm with the "gibbs" method I try to use the function:
Griffiths2004(models, control)
The arguments should be:
models An object of class "LDA
control A named list of the control parameters for estimation or an object of class "LDAcontrol".
I used it like that:
Griffiths2004(lda_5, lda_5@control)

R just says after this:
Fehler in as.list.default(X) :
No method to change the S4 Klasse in a vector
Can someone explain me what I need to change so that I can use this function? I don´t get it.
Kind Regards
Tom

A: The problem probably lies in how you pass the control parameter list to the Griffiths2004 function.
In the Griffiths2004 function, the parameters are addressed as in a list using control$param. However, lda_5@control returns an S4 object where the parameters should be addressed with control@param. (An S4 object is an advanced class in R, but the only important difference for this application is, that we address objects in these lists with @ instead of $)
You can see that lda@control is an S4 object when calling it:
> lda@control

An object of class "LDA_Gibbscontrol"
Slot "delta":
[1] 0.1

Slot "iter":
[1] 2100

Slot "thin":
[1] 2000

Slot "burnin":
[1] 100
...

It possesses so-called slots instead of simple list names.
You can avoid the issue you encountered by passing the control parameters to your LDA model as a list.
Here is an example:

library('Rmpfr')
library("topicmodels")
library("ldatuning")

# create LDA model with Gibbs sampling
data("AssociatedPress", package="topicmodels")
dtm <- AssociatedPress[1:10, ]

# pass controls as a list (otherwise it does not work!)
controls = list(burnin = 100, iter = 2000, keep = 500, alpha = 0.1)

# get model and pass controls list
lda <- LDA(AssociatedPress[1:20,], k = 2, method = "Gibbs",
           control = controls)

# Griffith score:
Griffiths2004(list(lda), controls)

# Output:
[1] -30355.28

It is also important that you pass the lda model in a list, since the Griffiths2004 function iterates over a list of models.
Also make sure you have installed all additional dependencies for the Rmpfr package that's used in the ldatuning package.

redpajama_set_name: RedPajamaStackExchange


Today's customers have more options than ever, whether they're shopping at the corner store or online, so every element of your brand experience needs to capture attention and move customers to action. At Wingard, we start with the end in mind, leveraging a strategy-driven approach to help craft compelling design and communication elements that resonate with customers and yield measurable outcomes for your business.
Let's package them together to fly off the shelf.


We've considered at length the different ways school associations EXCOS can use bulk SMS effectively for the organization of the association. If you've missed these, check here. Another area where bulk SMS can efficiently come in for this group is in communicating emergencies.
Emergencies arising in a school association might range from sudden changes in meeting arrangements, as per the venue, day or time, sudden changes in social gatherings arrangements, important updates coming from the school management e.t.c.


text:
#CBCTNoT
Sonic Magic: The Wonder and Science of Sound
Friday, May 24, 2019 at 9 PM on CBC-TV
Sound: A brief history
From echos in the deepest chambers of caves to the roar of a crowd in a town square, it's been said that sound is a way of 'touching at a distance.' And of course, like everything else around us, humans have found ingenious ways to manipulate it.
In the days before electricity, cathedrals were architecturally designed to amplify the human voice. Acoustic engineering — long before there was such a term — allowed mere mortals to project the authority of the church. The big, booming sound had everything to do with the angles and textures of walls and the height of the ceiling.
St Paul's Cathedral, an iconic building in the centre of London, is an excellent example of the effect of architecture on acoustics. Stand on one side of the circular gallery, talk quietly and your conversation can be heard clearly on the other side some 30 metres away as the sound hugs the walls and moves around the room.
Meet acoustic engineer Trevor Cox, who experiments with sound production in different architectural environments.
Sometimes our forefathers got it wrong. The Hamilton Mausoleum in Glasgow is a building with such poor acoustics that it earned a reputation in the Guinness Books of Records as having the "world's longest echo." Conversation there quickly becomes impossible in a tangle of bouncing sound.
The Electro-Acoustic Revolution
With the advent of recorded music and the electronic amplification of sound, our world changed dramatically. Suddenly a human voice could be heard far beyond the confines of a market stall or cathedral's walls.
With the telephone, the voodoo of radio, and loudspeakers, mere mortals stole the magic — the psychological power — of big sound. Humans could make noise every bit as far-reaching as the voices of priests, or the bells of the churches and town halls. The monopoly that the authorities had over communication was over.
Barry Truax, a composer and professor at Simon Fraser University, says, "Electroacoustic technology represents the ultimate democratization of acoustic-power. Now anyone can compete at the decibel level of the gods."
Internal Combustion – The Roaring Twenties
By the 1920s, man-made urban noise from trucks, cars and trains had become a nuisance and a political issue. The internal combustion engines led the list of official complaints, but the incessant prattle of electronically amplified sound — radios and storefront loudspeakers blaring onto public sidewalks—ranked a close third.
In New York City, a backlash developed and a loudspeaker ban was enacted in 1929.
Photo: iStock/Rich Legg
Factory Floor & Home Companion
Others embraced the new aural tapestry. Radios began to play on factory floors and in other industrial and commercial workplaces. The amplified human voice became a constant companion. Radio provided structure; it "bracketed" the workday and made boring, monotonous work more tolerable.
At home, disembodied voices became an antidote to loneliness. In 1946, George Orwell observed that, "In very many English homes, the radio is literally never turned off … I know people who keep the radio playing all through a meal and at the same time continue talking just loudly enough for the voices and the music to cancel out."
In the same essay, he accurately predicted that in the 'pleasure spots' of the future, besides creating a completely controlled, artificial environment, one would "never be out of the sound of music."
The Sound of Social Engineering
Soon, sound was deployed to manipulate human emotion as a means of social engineering.
"Musak" was invented to make riding an elevator a little less frightening by creating a mood; a non-threatening feeling of calm and safety. Now, we have shopping malls and branded theme parks with "completely artificial soundscapes" designed to put people in the right frame of mind for commerce. Background music has even invaded our work spaces, creating a rhythm to get us to work harder.
"What are the long-range effects when most environments have predictable, stereotyped moods associated with them? Do our own emotions become a commodity?" wonders Barry Truax.
The Engineering of Quiet
As cars are made of lighter materials for the sake of economy and fuel efficiency, they have become more susceptible to road noise. Doors no longer close with that familiar, reassuring thunk that is associated with more expensive models.
Photo: H. Michael Miley, CC
And of course, engineers have learned to solve these and other noise problems. Lexus, the company that claims to make "the quietest car," has made this a major advertising feature. Others go the extra mile to create just the right sound of engine noise from the exhaust pipe. Porsche offers several "sporty" or throatier engine sounds — at the touch of a button. Having quieted the car's interior, manufacturers can then offer entertainment systems that add $10,000 - $12,000 to the price tag.
Boeing, the Seattle-based aircraft manufacturer, claims to make the world's quietest jetliner. Having conquered the problems of long-distance flight in all kinds of weather and at great speed, the final frontier of airliner design and engineering is noise — both for people on the ground and for passengers in the cabin. They use carbon-fibre composite bodies, new wing shapes and serrated edges at the front and rear of the latest jet engines to give the Boeing 787 Dreamliner a "noise footprint that is 60 per cent smaller" than other comparable airplanes.
There are a growing number of antidotes to the noise of modern life. "Quiet spas" offer the ultimate in aural luxury. Electrolux makes what they claim is "the world's quietest vacuum cleaner." There's also a "quietest refrigerator."
Photo: iStock/m-gucci
Of course, all these products sell for a premium. You can enjoy a degree of peace and quiet — but only if you can afford it. Technology creates a problem — unwanted noise — to which it eventually becomes the solution, too.
Acoustic Bubbles
In the United States, an estimated 4 million people live and work amid "damaging noise" every day, while 10 million suffer from "noise-induced" hearing loss. Untold numbers of people hide from all this noise by creating their own private soundscapes with portable music players and noise-cancelling headphones.
But is immersing oneself in an acoustic bubble really the answer? "The appeal to the listener remains the opportunity to create a sense of order in what otherwise might seem uncontrollable daily circumstances. The listener is choosing to imbed him or herself within a virtual environment that is set apart from the real world … as an escape from it, " says Barry Truax.
As we move from the natural world around us and into a world of our own making, it is a strange time indeed.
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The Psychology of Sound
Singing Sand Dunes
Noise, Noise, Noise: Taking a Break from Sound
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text:
Superdome
CrimeDrama19781h 40m
Superdome (1978)
Because You d Superdome
Crime Drama 19781h 40m
It's Superbowl. And there's a lot of drama, one of the players, Dave Wolecki, has been so preoccupied with the game and if his bum knee will hold out until the game, has been completely ignoring his wife. And McCauley, the team's star quarterback, is being courted by a management firm, and the man the firm has assigned to get him into the firm has been told that if he doesn't get him, he will be out. But that's nothing compared to the real drama. There's a killer running around. It seems that the syndicate doesn't want the highly favored Cougars to win. They tried to get the team's trainer to drug or incapacitate some players, and when he refuses he is killed. So, the team's manager has to try and find out who the killer is, before he does some real damage.Superdome featuring David Janssen and Edie Adams is not currently available to stream, rent, or buy but you can add it to your want to see list for updates. It's a crime and drama movie with a very low IMDb audience rating of 2.7 (362 votes).
Where to Watch Superdome
Superdome is not available to watch online.
Knives Out (2019)
It's a Wonderful Life (1947)
A Christmas Story Christmas (2022)
The Family Stone (2005)
Where the Crawdads Sing (2022)
Four Christmases (2008)
See How They Run (2022)
The Eternal Daughter (2022)
Mrs. Harris Goes to Paris (2022)
Last Christmas (2019)
Twilight (2008)
Clue (1985)
Back to the Future (1985)
The Family Man (2000)
Jerry Jameson
Mike Shelley
Edie Adams
Clifton Davis
P.K. Jackson
Doug Collins
Dave Walecki
Susan Howard
Nancy Walecki
Chip Green
Lainie Wiley
George Beldridge
Fay Bonelli
Jim McCauley
Robin Mattson
Gail Green
Shelly Novack
Peter Brooks
Bubba Smith
Moses Gordine
Dick Butkus
Scott Hennerson
Tony Sicota
William Frye
Barry Oringer
#2085 Ranked in Sports Movies
#6045 Ranked in Crime Movies
Superdome has a very low IMDb audience rating of 2.7 (362 votes). The movie is popular with Reelgood users lately.
About Superdome
Superdome Overview
It's Superbowl. And there's a lot of drama, one of the players, Dave Wolecki, has been so preoccupied with the game and if his bum knee will hold out until the game, has been completely ignoring his wife. And McCauley, the team's star quarterback, is being courted by a management firm, and the man the firm has assigned to get him into the firm has been told that if he doesn't get him, he will be out. But that's nothing compared to the real drama. There's a killer running around. It seems that the syndicate doesn't want the highly favored Cougars to win. They tried to get the team's trainer to drug or incapacitate some players, and when he refuses he is killed. So, the team's manager has to try and find out who the killer is, before he does some real damage.
Related Genres: CrimeDrama
Related Tags: Sports


SugarByHalf is working to ensure Australians live better, stronger and healthier lives through the reduction of sugar-related diseases. But we can't do this alone.
There are powerful forces putting profit before our health. With your help, we can stand up for ourselves and our kids and make a difference.
We are an independent, not-for-profit organisation that relies on the generous donations of people like you. All Australian donations are tax-deductible.


And last year I stepped up and bought "2 lonely, dusty throwing knives" in one of the two gunsmith shops where I live. The two "lonely/dusty knives" were expensive but I was happy buying my first real throwing knives.
Of course I wanted to try something different than my first knives so I bought a Böker - 10 inch "Linder Flying Dart".
Not very expensive. I became used to them for short range throws and only threw them for few month.
Once more I felt like trying other kinds of knives so I bought another knife by Böker, the five "extra schwer model". But I was very disappointed. These throwing knives don't suit my own style. I was not able to throw or stick them well. I was disappointed because I spent money for nothing and I do not throw them any more.
So I bought a model that I find verry beautiful! Even though they rust. They look like "viper" throwing knifes. With these I was rather happy from 12 feet.
After a while I knew that I had to try something longer. I was fed up about spending money without being entirely satisfied. I decided to make some spikes using a piece of full d'inox (stainless steel) de 10 mm. I cut 5 pieces 40cm long. I made the handle out of this sort of plastic the butchers use to cut the meat on. Very easy to build, totally cheap and good sensations.
After a while I decided to buy an "expensive" knife and I chose another by Böker, the Night Dragon (30cm; 270g). Finally! A knife I feel totally well with.


Starting version 61, Mozilla Firefox comes with Accessibility Inspector within developer tools. However, Accessibility Inspector is not enabled by default reason being shown that as of now while accessibility inspector is turned on, users are experiencing some performance issues using other developer tools.
It would be a great friend to developers to see what information gets exposed to assistive technologies and what is missing. So that developers would know instantly what they would need to fix. Here is what is said in the announcement on .
The accessibility inspector provides a means to access important information exposed to assistive technologies on the current page via the accessibility tree, allowing you to check what's missing or otherwise needs attention.
As mentioned earlier, accessibility inspector is not active by default and here is how to activate the same.
Under Default Developer Tools section, Check "Accessibility" checkbox.
That's it; now Accessibility inspector is now available to use.
Role — the role this item has on the page (e.g., pushbutton, or footer). This can be either a default role provided by the browser, or a role given to it via a WAI-ARIA role attribute.
Name — the name this item has on the page. Where this comes from depends on the element; for example, the name of most text elements is simply their textContent, whereas form elements' names are the contents of their associated <label>.
name — the item's name, as described above.
role — the item's role, as described above.
actions — a list of the actions that can be performed on the item, for example a pushbutton would have "Press" listed, while a link would have "Jump" listed.
value — the value of the item. This can mean different things depending on the type of item; for example, a form input (role: entry) would have a value of whatever is entered in the input, whereas a link's value would be the URL in the corresponding <a> element's href.
DOMNode — the type of DOM node that the item in the accessibility tree represents. You can click on the "target" icon that comes after it to select the node in the Page Inspector. Hovering over the "target" icon highlights the DOM node in the page content.
description — any further description provided on the element, usually by the content of a title attribute.
help — this is not implemented in Gecko, so it always returns an empty string. This will be removed from the inspector in Firefox 62 (bug 1467643).
keyboardShortcut — any keyboard shortcut that is available to activate the element, as specified in an accessKey attribute. Note that this works correctly as of Firefox 62 (bug 1467381).
childCount — the number of child items the current item has in the accessibility tree hierarchy.
indexInParent — an index value indicating what number child the item is, inside its parent. If the item is the first item inside its parent, it has a value of 0. If it is the second, it has a value of 1. And so on.
states — a list of the different accessibility-relevant states that can apply to the current item. For example, one of the links in one demo has states of focusable, linked, selectable text, opaque, enabled, and sensitive. For a full list of internal states, see Gecko states.
attributes — a list of all the accessibility-relevant attributes that are applied to the item. This can include style-related attributes such as margin-left and text-indent, and other useful states for accessibility information, such as draggable and level (e.g., what heading level is it, in the case of headings). For a full list of possible attributes, see Gecko object attributes.
Note: The exposed information is the same across all platforms — the inspector exposes Gecko's accessibility tree, rather than information from the platform accessibility layer.
You can tab between the Turn Off Accessibility Features button and left and right panels.
When one of the panels is focused, you can move the focus up and down items using the up and down arrow keys, and use the left and right arrow keys to expand and collapse expandable rows (e.g., different hierarchy levels of the accessibility tree).
In addition, a new context menu option is available to inspect accessibility inspector for an element. Read Mozilla Developer Network blog post for more details.
So dear Developers, now you have one more helping hand to consider accessibility right from the development stage.


text:
Consumers Unaware Of Opt-Out Settings with Online Ads
New Research Addresses Big-Data Challenges for Content Owners, Publishers, and Advertisers
New big-data research from Parks Associates shows consumer awareness of industry opt-out solutions for online ads has remained consistently low for two years. Harnessing the Power of Big Data: New Media and Advertising reports in 2013, 6% of U.S. broadband households had seen the AdChoices Icon displayed with an Internet-based ad, virtually unchanged from 5% reporting in 2011.
"Media owners, publishers, service providers, and advertisers are already sitting on a treasure trove of data from connected devices, apps, and the Internet of Things," said Heather Way, Senior Analyst, Parks Associates. "With companies like Facebook and Twitter ramping up their advertising efforts, there will be more media and industry attention on the collection and use of consumer data. Maintaining self-regulation is important to this industry, and while offering privacy options is a key step, making consumers aware of their options is equally important."
Parks Associates research shows very few consumers are aware of public notices such as the AdChoices Icon, although younger consumers are more familiar with the opt-out options, with 10% of adults 18-34 having seen the AdChoices Icon. The Digital Advertising Alliance's (DAA) AdChoices Icon identifies companies serving targeted online ads and boasts a broad cross-section of program participants, including Google, Yahoo!, Whirlpool, General Motors, and ESPN. The Consumer Choice Page Icon links consumers to a webpage that discloses the ways data target them and provides an easy-to-use, opt-out system.
"Among consumers who clicked on either icon but did not opt-out, over 50% either want to receive personalized ads or are not concerned with the types of Internet ads they receive," Way said. "Instead of giving consumers the option to block customized ads altogether, content owners and publishers should deploy opt-in tools, permitting consumers to choose to receive ads that are personally relevant and useful. As part of this strategy, they would need to explain the benefits of big data to consumers, with incentives such as free and personalized content as primary motivators. Opt-in solutions would also enable the delivery of special offers, coupons, and samples, all of which would undoubtedly draw the attention of consumers."
Harnessing the Power of Big Data: New Media and Advertising examines the state of personalized advertising, analyzing the technologies and companies that are mining consumer data to recommend and enhance relevant advertising across various platforms. It identifies and profiles key players and predicts sectors of early growth.
For more information, visit www.parksassociates.com or contact sales@parksassociates.com, 972-490-1113.
Next: Parks Associates Announces Partnership with Digital Media Wire and GSMA for Disruptive Media Conference at 2014 NAB Show
Previous: Over 40% of U.S. broadband households have a subscription to an online video service


text:
Home/Arrow/Season 2/Episode 20/News/Page 1
News for Episode 20: Seeing Red
Show Episodes (170) Show Reviews (366) Lists (3130) Events Listings News Recaps
ARROW: Susanna Thompson on the Heartbreaking Twist, Her Improvised Line, What Was Cut, and More
Apr 29, 2014 | By Give Me My Remote | 0
[This post contains spoilers for the ARROW episode, "Seeing Red." If you haven't watched it yet, please go view it first, and then come back to see what Susanna Thompson had to say about the hour.] ARROW's Moira Queen may not have been the most honest person in the world, but the one consistent aspect […] //www.givememyremote.com/remote/2014/04/24/arrow-susanna-thompson-on-the-heartbreaking-twist-her-improvised-line-what-was-cut-and-more/
[Video] 'Arrow' Sneak Peek: Is Roy a Lost Cause?
Apr 29, 2014 | By Buddy TV | 0
Roy loses it on Arrow 's "Seeing Red." With mirakuru in his blood, he can no longer control his emotions or his actions which leads to deadly consequences. Oliver has already lost so much, will he lose another in Roy? Or, will the team be able to find the cure in time to save Roy? Read More... //www.buddytv.com/articles/arrow/arrow-spoilers-seeing-red-53348.aspx
'Arrow' Episode 2.20 Photos: Roy Loses Control
Official photos from the April 23 episode. Read More... //www.buddytv.com/slideshows/arrow-episode-220-photos-roy-loses-control-78476.aspx
Arrow Season Season 2 Episode 20 "Seeing Red"
Apr 23, 2014 | By maximiliano | 0
Arrow Season 2 Episode 20 "Seeing Red" airs Wednesday April 23 2014 at 8pm on the CW television network. Episode Synopsis: Arrow Season 2 Episode 20 "Seeing Red" – After Roy's deadly fight with a police officer, Oliver realizes the mirakuru has taken over Roy completely and must figure out a way to stop him. Read More... //www.tvequals.com/2014/04/23/arrow-season-season-2-episode-20-seeing-red/
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