JUMP TO MONTHLY PROMPT ↓
A TRAIN COMES INTO THE STATION.
You wake up on a train.
Your phone is buzzing. It's in your pocket, in your hand, on the seat next to you. It's a normal phone, and you're on a normal train car. One of the lights flickers, a little further down. The world is very quiet. It feels like you're right where you're meant to be. On the phone's surface is a white screen and the words—
WELCOME TO THE CITY. BEGIN ORIENTATION?
▶ NO
Please take a moment to complete your orientation.
Once you're finished, the subway doors slide open to let you out onto the train platform. To your right, the platform continues on and eventually ends; to the left is a set of stairs that will lead you up into the station itself. The platform is quiet, clean, empty—there's no one else around, and the only sounds you can hear are your own footsteps, your own breaths, and the occasional faraway sound of a creaking pipe or rush of air. The train you disembarked will stay there as long as you do, its doors still open, until you finally decide to venture up into this new locale.
As you make your way up the stairs to your left, you find yourself in the belly of City Hall station. The station is large, a sprawling underground mini-metropolis of corridors and storefronts. Here, you may find others like you, freshly-arrived city residents from other realms (or even your own). There is also a subway map, which will give you an idea of the layout of the neighborhood, and ticketing machines, which can currently only be used to buy tickets to a handful of stations located on lines 1, 2, 3, 4, 5, and 9.
If you're hungry or in need of any kind of supplies, there are plenty of storefronts inside the subway station as well—snack stands, convenience stores, restaurants, clothing stores, a pharmacy, and a variety of empty shops that may or may not have ever been in use. Everything is unlocked, and you can take whatever you need.
Characters may stay on the train platform indefinitely, and may re-board and re-disembark from the subway as many times as they like, but the train will not depart nor will the doors close. Once they go up the stairs into the train station, they may hear the train doors closing and the train departing. Another train will not arrive, no matter how long the character waits. Only once they come up the stairs into the station itself may characters encounter their fellow newly-arrived residents and take advantage of what the city has to offer.
JUMP TO TOP ↑ | ↓ JUMP TO COMMENTS
WELCOME TO THE NEIGHBORHOOD.
The station is located in the city center. It has three major exits that lead to areas of interest in the district, but there are several other smaller exits that lead in other directions around the neighborhood. You are welcome to use any of them, but may find the north, southwest, and east exits to be the most welcoming.
TO THE NORTH
The northern entrance to the station leads up into the sunlight and puts you out in a brickwork plaza. There's a modest building in front of you, three or four stories of stone with a welcoming facade. There's a sign above the entryway—it says City Hall. You may be tempted to explore, if you're interested in learning more about the city and how it functions, but prepare to find yourself disappointed—the folders in the records rooms are full of empty, blank sheets of paper, and the logbooks and balance sheets are similarly devoid of information.
Immediately to the southwest of City Hall, you will find a small building that houses the tourist information kiosk. It looks welcoming, with an inviting glass facade and a sign above the entryway announcing it as the "TOURIST CENTER." It's a humble building with a receptionist's desk on the back wall opposite the entrance, empty magazine shelves lining the side walls, and a few spinning brochure racks full of blank pamphlets. Anyone is welcome to peruse the tourist literature, though they won't offer much information, being primarily filled with pictures of the surrounding area—City Hall, the park, a statue garden, and the surprisingly heavily-featured cemetery. There are a few sentences sprinkled throughout about basic offerings of the city, such as apartment complexes and office buildings, as well as a few maps with the same limited scope as the larger version on the wall behind the receptionist's desk.
The main feature of the tourist center is the interactive kiosk installed dead in the center, right in the middle of a few rows of uncomfortable chairs that fill the small room. It's noticeably in the way of any would-be foot traffic through the tourist center, and something about the technology seems a little more modern than the computer behind the desk or the landline phone on the wall. The kiosk is a tall silver rectangle, about average adult height, and the upper half is a screen welcoming visitors to touch it to activate the kiosk. If you were to touch it, the screen would come to life with simple dialogue inviting visitors to ask it their questions.
However, residents should note that the kiosk is only programmed to assist with exploration within the available areas of the city. It may not be able to answer every question, and tampering with the kiosk may result in unreliable or inaccurate answers!
TO THE SOUTHWEST
The western exit of the station takes you up into a city park, lush and green with a very light fog still hanging about the trees. There are lampposts on the walkways and benches where you could rest, and plenty of flora, although you can neither see nor hear any signs of animal life. You walk the paths that meander idly through the verdant grass and you feel a sense of peace, some of your unease about this place easing into a pleasant calm. The air smells fresh, like it's recently rained, and you'll find the grass ever so slightly damp should you decide to take a seat.
As you make your way deeper into the park, the trees grow denser and the smell of soil and plant life grows stronger. This is the older part of the park, very nearly a forest, with ivy climbing the trunks of the trees and plants and shrubs growing riotously around their bases. As you turn a corner, you find yourself first in the statue garden, although the statues are harder to see now, choked as they are with ivy. There are many statues, some partially obscured, some fully—very few of them still stand free of the vines and clinging roots. (It doesn't feel quite as peaceful here.) If a statue's face looks a little bit familiar, you may not want to look at it too long.
Continue down the path and you will find yourself in a graveyard, one that seems centuries old. Most of the headstones are worn away by time and covered in moss, rendering them impossible to read. The few that are free of moss are blank, or bear only suggestions of names too faint to be understood. (Was that the name of—no, it couldn't have been. Could it?) Many of the headstones stand at an angle or are toppled over completely, having been subjected to either strong winds or the roots of the trees that grow up from some of the graves, spreading branches toward the sky.
TO THE EAST
The final exit of the station, to the east, puts you out on a quiet surface street. Are you hungry? Or are you paralyzed by choice? There are plenty of restaurants, offering options of almost any food you can imagine. You could try a convenience store—it's well stocked, and the items there seem free for the taking. How about a restaurant? There's no one to take your order, but when you look in the kitchen, there's something on the stove, and it's just what you've been craving. Imagine that.
A few blocks down, you come in through the lobby of a tall building and find yourself in a corporate office. The fluorescent lights are steady and unforgiving, and the cubicles and offices are empty. There are a few pieces of paper on desks, a few folders left in organizers, but everything is perfectly blank. Despite how empty and quiet the office is, it nonetheless gives you the feeling that just a few minutes ago, this place was bustling with workers going about their daily business.
You enter another building and find yourself in the lobby of an apartment complex—finally, a place to rest. The first door you try opens easily into a completely empty living room, freshly vacuumed but without a single piece of furniture. It's a nice apartment, quiet, but with a little too much echo for your taste, maybe. Still, and perhaps oddly, you have no trouble envisioning what life here would be like.
The second door you open leads to an apartment that feels lived-in. Why does it feel lived-in? It's fully furnished with items that seem to go together perfectly, true, but the feeling is more than that—the room feels like someone was just here, maybe standing right in the kitchen only moments before you swung the door open. The air is a perfectly comfortable temperature, and it somehow smells like home despite that you've never once set foot here before. The refrigerator is stocked, and the cabinets are full of spices and flatware and kitchen utensils.
As you look around the living room, you find that there are pictures in frames on the walls and some of the flat surfaces—a seascape, a field, a shot of a city park bench. In each of the photos there's something just slightly wrong with the angle, as though the photographer were aiming for a subject that can no longer be seen.
Characters are welcome to explore the district around the City Hall subway station to their heart's content. The City Hall building itself contains several floors of offices and file rooms, but none of them contain any particularly interesting information. Nonetheless, characters may wish to team up with other newcomers and try to find some hints about the nature of the city. They can also spend a while in the park, the statue garden, or the graveyard. In the blocks surrounding the station there are plenty of options for food and housing, as well as office buildings, storefronts, and alleyways to look around. There are no workers in any of the buildings, and there does not seem to be an honor system for payment, nor any consequences for taking food from the stores or setting up camp in an apartment or office building.
JUMP TO TOP ↑ | ↓ JUMP TO COMMENTS
THE POISON'S IN THE DETAILS.
CONTENT WARNINGS: Monthly prompt includes the potential for body horror, including: mold or fungus; spores; and hanahaki-like symptoms. It also includes the potential for violence, mutilation, or death. Please label potentially triggering content in subject headers and interact responsibly with threads!
With the cacophony of the fun fair now gone, packed up and sent away for another year, the southern half of the park is now empty. That doesn't mean that the park itself is without attractions, though: up in the northern corner, sprawling out across the green, is a curious garden full of winding paths and draping trees, and within it, the smaller poison garden, where a variety of different flowers blossom and bloom along the gravel path. From roses to gladiolus, tulips to belladonna, this garden has many flora that residents may recognize from their homes, and some that they most certainly will not. As residents walk along the paths, observing and smelling and—for the brave—touching these plants, they will encounter a long wooden table, stretched out in the midst of fresh cut green grass.
This table has been decorated for a party, though it seems that all the guests must be late. A strange variety of different sized chairs and cushions have been set out along the long length of the table; it seems to fit at least twenty people, maybe even more. Small dishes and porcelain tea cups lay in random design across the off-white table cloth, used flower doilies and half-folded napkins tucked here and there as though someone left in a hurry. Even stranger still, there are six large, ornate pots of tea, scattered about the table, each warm to the touch and, you guessed it: full of tea. You suddenly find yourself craving a cup, and tuck into one of the chairs to pour yourself some...
...but you didn't think that it would be that easy, did you? Once you've swallowed a mouthful, or even your whole cup, your body starts to feel strange. Depending on the color—or flavor—of the tea you're drinking, you're going to experience some side effects:
| Color |
Flavor |
Effect |
| Red |
Hibiscus: This tart and fruity tea is naturally sweet. |
You will begin vomiting blood. The amount is up to your body's reaction. The correct antidote will fix you. |
| Yellow |
Jasmine: This tea has a light, floral note, and is slightly sweet. |
You will hallucinate something terrifying near you, and may lash out and attack those around you. The correct antidote will fix you. |
| Blue |
Pea Flower: This brilliantly-colored tea has a very delicate, woody flavor. |
You will gradually begin losing one of your senses (sight, hearing, taste, smell, touch). The correct antidote will fix you. |
| Black |
English Breakfast: This is a full body tea, with rich undertones and a bold flavor. |
Something very terrible will begin happening to your body: your hair may start falling out, you may become covered in hives, or your skin may start opening into sores. The correct antidote will fix you. |
| Green |
Green: This tea has a very clean, grassy flavor, like the earth. |
You will begin to transform into a terrifying creature or animal of your choosing. The correct antidote will fix you. |
| Orange |
Ginger: This is a tea with a warming, slightly spicy taste. |
After drinking, you will suddenly fall into a death-like coma. A kiss may wake you, or the correct antidote. |
In a panic, you look for something to help you. Just beyond the table, tucked away into a wall of ivy, is an old wooden shelf, the lettering nearly worn all away on it. Little packets of seeds line the tiered shelves; there are no pictures on them, but the packets themselves seem to all be different colors—and you may notice that the colors match the colors of the various teas on the table.
Ripping open the packet that matches the color of your tea, you find it contains actual seeds—will you swallow them and risk a plant growing in your stomach, just to see if it will counteract the effects of the tea? Oh, surely that's the stuff of fairytales, isn't it?
Residents are welcome to explore the various paths around the outside of the garden, observing plants and flowers of their choosing. The tea party is open to all, and the tea will continue to be brewed somehow, no matter how many people drink it. Players can choose the extent of the negative effects on their character, or have their character remain unaffected by the tea entirely. In order to get rid of the negative effects, characters must either find the correct seed packet that matches their tea and eat the seeds, or wait twenty-four hours for the symptoms to subside. The seeds will not do anything but cure the character—though they're welcome to think something awful might happen.
The tea party cannot be destroyed, and items that are moved from the table can only be moved within the perimeter of the poison garden. Characters are unable to steal things from the tea party; they will mysteriously return back to the table if taken beyond the aforementioned border. The tea party will remain there permanently, though the negative effects of the tea will mysteriously disappear after November 1st.
JUMP TO TOP ↑ | ↓ JUMP TO COMMENTS
A DROP OF BLOOD OR A DROP OF EGO.
At the apex of the path that winds around the poison garden is a large greenhouse that looks like it has seen better days. The panels are filthy, covered in dust and dirt and grime, and the doors creak on their hinges when you open them. Inside, the air is hot and musty, but the smell of herbs and spices fill your senses, letting you enjoy the atmosphere. The greenhouse is clearly separated into two different paths: the one to the left has a hanging sign which reads "DEADLY BEAUTIES" and the one to the right has a hanging sign which reads "BEAUTIFUL DEADLIES".
Heading to the left, you decide to observe the various plants there. Shelf upon shelf of various potted plants watch you as you go past; some of them snap at the air, veiny teeth grasping for the delicious meat of fruit flies and ants, and some of them threaten to touch you, with vines that roll and curl outward for just a shivering touch. Overhead, tangles of vined plants and spiked ivy mix together, an oppressive shadow that makes you feel as though you're trapped in this place as you walk through. Be careful: these carnivorous plants might be beautiful, but they won't hesitate to get a little too friendly with you. The floor is caked with dirt, but some of those brown stains might not just be from mud and dust, smeared by shoe heels and work boots. These plants might want a taste of blood.
Heading to the right, you find yourself in a beautiful space, the flowers so large they seem almost overwhelming. Have the plants gotten bigger, or have you simply gotten smaller? Gorgeous purple blossoms, pink petals, bright blue flowers and speckled white flowers cower and bend to cast you under them, like a flower-patterned umbrella sheltering you from the rain. The further you walk under them, however, the more you get the feeling that they're not just there to watch over you: they're there to explore you. At first, it's just a few gossipy whispers, so quiet you might not think they're real; then it's full-blown voices, the flowers bending and twisting as though to speak to each other in harsh, judgmental tones. What are they talking about? Well, they're talking about you—your secrets, your opinions, the things you don't want anyone else to know. These flowers are spilling your tea, and anyone walking along with you is going to hear it.
The back of the greenhouse—if you make it there—has the same doors as the front. They open back out onto the winding, circular path of the poison garden, where you can head back home...or experience the whole thing over again.
The greenhouse is rather large, and characters are welcome to walk through it along any path they wish. The carnivorous plants will possibly nip and bite at your characters, or try to restrain them, but they aren't very strong and can easily be broken away from. Feel free to imagine as much of a struggle as you wish, but they will not inflict any kind of mortal wounds on characters.
The giant, oversized flowers will tell your character's secrets or their deepest darkest opinions—this is open to player choice. The flowers cannot be attacked or hurt, and the only way to get them to be quiet is for someone OTHER than the character they're talking about to scold them or tell them to be quiet. Alternatively, if you can walk the path hand in hand with another character, this will also cause them to go quiet.
Plants cannot be taken from the greenhouse or killed, and they cannot be dug up from their pots. The greenhouse itself also cannot be destroyed, and any fire lit in the greenhouse will be immediately extinguished by an overhead sprinkler system. This place is meant for enjoyment and admiration, not crime!
JUMP TO TOP ↑ | ↓ JUMP TO COMMENTS
WILDCARD.
The city is by no means small, and there are plenty of things for you to see. There are even some places that other residents have created! There's no rush in exploring, so feel free to take your time looking around and peering into various nooks and crannies and alleyways—and don't worry, you're not very likely to find anything peering back.
If none of the above prompts appeal, feel free to check out the Locations and Maps pages and write your own freestyle prompt using one or many of the available locations. We highly recommend checking out the Character-Run Locations as well - they might be great places for new characters to get started!
JUMP TO TOP ↑
|
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
citycenter) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
citylogs2023-10-01 08:38 pm
no subject
[And he does put on a pot of hot water to boil, adding the tea leaves he'd brought with him from home after a while, so they can boil together.
When someone approaches from the trees at the edge of the clearing he's in, Onni glances up, seeing a regular-looking man waving the communication device at him, and figures it must be the person he was talking to. He pulls the pot off the fire, and offers a little wave.
Daniel will see a man dressed in a tunic and pants, with leather boots and gloves, wearing a thick cloak made of fur with the wide hood pushed down to rest on his shoulders. All in all, he looks like the forest hobo that he is, dressed like he's out of a fantasy novel.]
Hello.
no subject
[ Unless his displayname was nothing but gibberish, but.. going by his outfit, Daniel kind of assumes he probably just put his actual name into those questions asked by them on the train, ending up with that as his display name. Especially since he doesn't look like he even knows what a display name is.
Daniel would say this place really needs to think more about what's familiar and clear to new people who are arriving, but-- he knows it's not like this city and whoever is behind it truly cares about them, anyway.
Still, he offers a friendly smile as he approaches, sticking out his hand that's not holding the phone for an offer of a handshake once he's close enough. ]
I'm Daniel LaRusso. It's nice to meet you. You know, despite the circumstances.
[ No one likes being kidnapped to some odd empty city, surely. ]
no subject
[The username hadn't made much sense to him, so it's nice to get the man's actual name. Then again, the username thing is much like Daniel assumes - completely foreign and nothing he's ever thought about needing. So he'd just put in his actual name when it asked for one.
Once the man is closer and offers his hand for a shake, Onni holds out his own gloved hand and clasps it, shaking firmly before dropping it and going about pouring the tea he's brewed - nettle and dandelion, collected from some of the plant life in the park - into two cups, and offering Daniel one of them.]
The circumstances...
[That comes out sounding a little grumpy, though it's not aimed at his new companion at all. Onni's just frustrated and upset and disoriented at being in an entirely new world out of nowhere.]
Anyhow. Thanks for coming. You said you could show me how to use this thing?
[He holds up the communication device, dangling between two fingers.]
no subject
It's why the man looks so unfazed by the grumpiness in the other's tone, still giving Onni a smile - though it perhaps turns a little bit more gentle with sympathy. ]
Yeah. It's pretty important to know in this place, since it's pretty big and empty. [ So running into people isn't always super easy, especially if you're looking for anyone specific..
So clearly it's time to introduce someone who's either from the past or - judging by experience here so far - from some weird fantasy world about the wonders of modern communication. ] Which means everyone's communicating through these.
[ Daniel shows his own phone. Just to make it a little easier, since it means Onni can look at his own device and try to copy some of the stuff Daniel does, if he'd like. ]
What you did a little bit ago actually sent out a message to everyone in this place. That's when you have something to say to everyone here, or a general question, or something like that. People can recognize you by that name that's right there above your message-- that's what this strange place asked us to enter when you wake up in the train. It's how people can recognize it's you saying or asking something, even when you're writing text, rather than talking with your voice.
[ He pauses for a moment, glancing up from his device to look over at the other. ]
Making sense so far? [ It's not like Daniel is 100% sure if this is too slow or too fast for the other, after all. He doesn't have personal experience in suddenly having to adapt to such a wild technological shift.
No, not even as a middle aged dad, okay!!]no subject
When Daniel shows his phone, Onni scoots closer to peer at it over his shoulder, nodding as he says it's important to know because the place is big and empty, so everyone's communicating with this device.]
Ah, that makes sense.
[He watches as Daniel navigates around the device with the sure hands of someone who's used something like it before, not the hesitance of someone who's only just learned himself. So Daniel must come from a different type of world from Onni's own too.]
Yes, that seemed like what I was doing. It's why I asked so many questions.
[He holds his other questions while Daniel explains the username, and Onni has no regrets about just putting his name in, considering it's what identifies him. It makes sense to be his name.]
Yes. It was easy enough to figure out how to make a message that goes to everyone and to make it text, but I've seen other ones that are like a recording, but of a person's face and not just their voice. Or ones that are of voices. How do you do that? And how do you send a message to just one person?
[This is honestly the perfect pace for Onni - he's quick to catch on to new things, but knows nothing about this kind of technology, his own being limited to trains and radios.]
no subject
[ Honestly, Daniel is already kind of glad the other can accept the idea of a recording.. It's not like he hasn't met people here who thought people's faces popping up on this and moving is just some weird form of magic.
This works a whole lot better. Though he kind of thinks it must also be that the other just seems to be very practical in general. Onni is taking all of this in relatively easily, despite being stuck in what Daniel knows to be a very odd situation. ]
As for contacting a specific person.. It helps when you know their name on these things. See, you go to the list of names, and then you browse through that until you find the right person. [ He's still demonstrating. Not quite as slow now - since he finds Onni is picking up on it pretty easily - but not too fast either. ]
It's kind of a good idea in general to keep an eye on what sort of messages people are sending to everyone in this place, really. Sometimes things here can get a little.. [ .. his tone trails off. Meaningfully. It's not even on purpose for dramatic tension or anything, but instead the man looks a little troubled, like the cause of the pause is the fact that he isn't sure how to describe this to a newcomer without potentially freaking them out. ] .. chaotic.
[ That works? M-Maybe? ]
And it helps to have all the information you can, whenever people are making sure to spread it.
no subject
[Onni watches Daniel's screen and then repeats the movement on his own screen, biting at his lower lip, pale eyes flicking between the two screens.]
So that is for movies, and this is for voices.
[It doesn't seem like magic to him, just very advanced technology, something like what they had in the Old World. He's heard of movies, recordings of people that moved on the screen and told stories that people watched, similar to plays, and this seems similar to that. Of course magic exists in his world, but making moving pictures isn't exactly what people do with magic. Magic is more natural, attuned to the natural world and working on its laws and principles, with the aid of the gods.
He watches as Daniel explains how to contact a specific person.]
Oh, is that why it asked me to enter my name? What's your name on this thing, is it just "Daniel"?
[Onni copies Daniel's movements and brings up the list of names, scrolling through it and looking for 'Daniel' on the list.]
In case I ever need to talk to you.
[Gebura had already taught him the need to have contacts and allies just in case something goes wrong or 'weird' here. Daniel's explanation only seems to agree with that perspective, and Onni is starting to take it to heart.]
I see. I agree about having information, so I'll make sure to keep an eye on what people put up on this thing, then. Hopefully it's not too much junk.
[Lifting his head, he glances up at Daniel and nods, expression serious and thoughtful.]
Thank you. For teaching me.
no subject
There, that one. When we have to enter our names like that where I come from, it's usually for business purposes. [ Especially when Daniel does own a car dealership.. you kind of get used to that being your username or email on business accounts when you have to log into them all the time. ] So I went with my initial and my last name.
[ Still recognizable enough, right?
Daniel smiles at the other. ] Feel free to use that to contact me whenever you need it. No question is too stupid to ask, I promise. I'll gladly help.
[ Apparently he was thinking the same thing as Onni, huh. Except he's even verbalizing the offer of help here, truly seeming entirely unbothered by the idea of offering it. ]
no subject
Oh, really? So back home you use this sort of device for business?
[Business is something Onni's never really had a mind for, and he's had some bad experiences with people putting business over threats to people's lives, but he's ready to assume that Daniel isn't that kind of person. That doesn't seem like the type of person who'd willingly come to explain the communication device to someone new without expecting payment.]
You're very kind. And you seem like a reliable person. I'll keep it in mind. Thank you.
[He looks back down at the device, feeling much more comfortable with it now.]
How long have you been here? And what was your occupation back home?
[There's no harm in getting to know this man, after all.]
no subject
So instead he moves past that, and past the compliments - taking them in with a grateful nod - towards the questions. ]
I've been here a few months now. Not as long as some people, but longer than most. [ He always finds it helpful to put things into perspective like that for the new people - it might give them an idea as to how long they could be stuck here.
.. even if he knows it's not the most fun news in the world to hear. Maybe it's a good thing Onni asked him two things, since it allows him to tack on an answer that's a little more neutral. Like-- ]
And back home I'm a car salesman. [ A slight pause as Daniel wonders something.. ] Do you know what cars are?
[ Just making sure, really. He has no clue whether or not Onni would know, given everything so far. ]
no subject
A few months...and some have been here longer than that. So we can expect to be here for a long time, then.
[A frown, at that, because while he hadn't had anything pressing going on back home, he'd finally had a chance to rest somewhere safe for a while, and to spend time with Lalli and his friends. To get to know them, these people who were important to his cousin.]
A car salesman? Ah, yes, I know what cars are, though I've only seen the wrecks of them overgrown with 90 years of underbrush. We don't have working cars where I'm from.
[At least he doesn't seem offended by the question.]
I was in the military, as a mage.
no subject
It could serve Onni well in a place like this, Daniel thinks.
Though there's absolutely no time to remark on that, not even if Daniel would want to, considering just for how much of a loop those next words throw him. Sure, Daniel has heard of many odd worlds already, but-- ]
Ninety? [ He can't quite hold back the surprise as it shows up in both his tone and his expression.
At least he does realise how it slipped out a moment later, quickly shaking his head and frowning a little. ]
Sorry, it's just-- I think the places we come from are very different then. [ To put it.. very mildly, considering everything the other is saying.. What, is Onni from some sort of weird future apocalypse? ] You'll find non-functioning cars here as well, along with people who are-- well, I'm not sure if there are mages, but there are people with special powers here.
[ He smiles apologetically before adding: ]
I'm not really well-versed in that sort of stuff. It's not.. [ .. how to put this delicately. ] .. not really a thing where I come from. But it means that if you have anything to discuss about in regards to your capabilities as a mage, I'm sure you could find people here you could talk about it with.
no subject
When Daniel blurts out 'ninety' like that, Onni tilts his head. It's something he's heard before, that his world is very different from most of the worlds people come from here. He nods, and sighs slightly.]
Yes. This place isn't all that different to what I was used to back home in the Silent World, just not overgrown. Abandoned places, where people used to live. It's just that here they seem to have just left a moment ago. I'm not sure which is more creepy.
[A shrug, and he nods again as Daniel says he's not well-versed in magic, but that he could find people here who might understand his mage capabilities.]
I agree. I've found a few people here who at least weren't surprised by magic, or who could do it. So far, though, the way I do it is completely unique. Was there no magic in your world?
no subject
Absolutely no magic at all.
[ Which might be why he seemed a little surprised about the state of Onni's world there.. Apparently none of that really sounded normal to him at all, despite Daniel having grown able to deal with some of the.. wilder aspects to some people's worlds that are represented in this city. ]
Nor, um.. vampires, or ghosts, or kidnappings to strange, empty cities. [ To name just a few things he's had to encounter ever since said kidnapping.. He makes a bit of a face he as he says it, but then releases a breath, not wanting poor new Onni to feel too strange. ] It's been a lot for me to try and get used to. At least it seems like you're already slightly used to odd empty cities like these?
[ Just.. you know, a little different. Nothing looks overgrown or abandoned here, after all, other than just the fact that there's hardly anyone here. ]
no subject
[It's interesting to think of a world with no magic, no mages, no spells or runo or gods. Interesting and difficult to imagine.]
We didn't have vampires or kidnappings to strange, empty cities. There were ghosts though. I imagine if you're not used to this sort of thing it would be. I'm not used to it either, but at least I was prepared for supernatural things. If you need any help with that sort of thing...you can call me.
[A nod. Daniel has been more than helpful, and he's certainly willing to return the favour. Besides that, he seems like a decent person, easy to talk to, sensible and with a good head on his shoulders.]
Ah, yes. I am. The Silent World is much like this, outside the settled cities.