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.
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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 center. 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.
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.
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IT IS THE ULTIMATE SHADOW, THE DEFEAT OF CREATION.
In one section of the newly accessible portion of the city, nestled in among normal looking residential and commercial buildings, is a wide and relatively short and industrial-looking building with no windows and only one grand set of black glass doors set into one side. Above the entrance is a neon sign that plainly states ART. with smaller letters sm added to the front in metallic paint. Hopefully, this simple signage will give passersby the impression that this is an art exhibit of some kind, with a twist.
DO NOT TOUCH THE ART…
Once stepping through the front doors, guests will be greeted with a lobby with walls covered in vertical neon lighting that pulses in a rotating rainbow, and mirrored ceilings that make the space feel surprisingly small. To one side is a bar where various cocktails await pickup. They don't have any special effects, but being a bit tipsy might help enhance the experiences waiting for you beyond. There's also a rack of bottles behind it, stocked with the typical liquors and mixers, if you'd like to play bartender for a while. Thanks to the disorienting amount of colored lighting and dark corners, it may be easy to get lost and turned around in the large building, and guests may be surprised to find that they're unable to locate the exit (or entrance) while alone.
After leaving behind the lobby and stepping into the exhibit proper, you'll find yourself walking through a central winding hallway with large rooms branching off from it in both directions at regular intervals. Some of them are more interactive than others, but all of them are dimly lit except for the "art" that guests will find themselves in the middle of, encouraged to touch and participate in creative collaboration. A few of the simpler rooms include:
Hanging ropes that will light up where touched, changing color with the amount of kinetic force applied: purple for a brush of the fingers, red for a crushing grip. These pulses of light will travel out to either end of the ropes the longer touch is applied, and considering that the room is pitch black and seemingly endless thanks to the mirrored walls, you may want to find some help in lighting up the dark.
A sunken floor filled to the brim with translucent plastic balls. This ball pit is a literal bath of color with every-changing light shining up from the floor of the ball pit and diffusing through the balls. A wall of cubbies at the room's entrance awaits belongings and shoes that are asked to be removed by a polite sign at the top of the stairs that descend into the ball pit. Be careful, for the pit is deep and it's easy to sink beneath the surface if you sit or lie down; you may see some shadows of people a ways away from you, but if you wade through the balls to their rescue, you won't find anyone tangible there.
A small theater of benches all facing the back wall that is a single large screen. The display is a moving series of lines on a black background that give the audience the sensation that the room is moving, or they themselves are traveling through the space. Atmospheric music—mostly heavy bass and noise that's been timed with the movement on the screen—hums through the room and adds to the sense of immersion.
... IT MIGHT TOUCH BACK.
One of the more interesting rooms is actually divided into three smaller rooms, each with a heavy, sound-dampening door that only has a small square window set into the top of it. Through the window, you can see that there is a red room, a green room, and a blue room. Stepping into any of them will be a different experience where guests will be entirely immersed in the color—even the window is a one-way mirror from the inside, blocking out any sights from beyond. The longer guests stay in these isolating rooms, the more disoriented they'll become, and it's entirely possible that moods will shift from the experience. Be careful stepping back out into the exhibit itself, your eyes and ears may need time to adjust.
In the green room, guests may feel like they've stepped into a concentrated and unfiltered essence of nature. The speakers play a variety of animal noises layered with leaves rustling and branches creaking as they move as well as wind, rain, and other kinds of weather. Looking at yourself, or your companions if someone stepped inside with you, you see their eyes and teeth pop clearly in the bath of green, somehow more obviously animal than ever.
In the red room, the temperature is higher than the rest of the exhibit, not uncomfortably so but noticeable all the same. Looking down at your skin, you can see more of the blemishes, the dark spots or pale scar tissue that contrasts much more starkly. From hidden speakers in the ceiling comes a mixture of sounds that are hard to place as they're so layered over one another, but the overall noise is inorganic, discordant, unsettling. It's hard to focus, let alone look at anyone else you might be sharing the room with.
In the blue room, there is almost an absence of experience. The only sound is a low, steady hum that vibrates through you as you stand and close your eyes almost on instinct. Everything gets erased in the layer of blue that covers everyone and everything in the room, skin looking almost gray from the lack of any other colors that are so often associated with life.
The last room of note is completely black and empty except for three massive umbrellas of flowers and other plants that are suspended from the tall ceiling, illuminated by lights shining on them from above. Each umbrella is about as high off the ground as the average human and varying by a few feet or so, so that it's possible to stand or crouch beneath them. Once standing in their shadows below, guests will be able to hear whispers coming from above…
These whispers tell real secrets of city residents—past, present, and future—though names are never included. The secrets are told in their own voices, though, almost like confessionals to a confidant or their pillow in the dark of night. These secrets can be positive, negative, or simple fact. Some may be shocking revelations of guilt, or shy mutterings of love, or secrets spilled as if the speaker has never thought of this part of themselves before. There is a hush throughout the room, and if guests were to whisper to each other beneath the umbrellas, conversations would not be easily overheard.
Residents are encouraged to meet up in the bar with friends, grab some drinks, and then head into the art exhibit. It's also a great place to meet someone new as there will be plenty of interactions happening as everyone hopefully discovers a bit of their inner child. There's no right or wrong order to exploring the rooms, but residents will not be able to find the exit without the presence of another with them—even if you came alone, you're leaving with a friend!
For the Secret Garden whispers, players are encouraged to make up something scandalous to discuss with others or even have their own character's voices whisper to them from the flowers. Please remember to discuss with other players before including any information about existing and potential characters that may affect their gameplay.
Inspiration for this location includes 9 Lights in 9 Rooms as well as Hopscotch. Title is from Do Androids Dream of Electric Sheep?.
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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!
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citycenter) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
citylogs2023-11-01 09:00 pm
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Or you know, do, because the Wanderer might actually think Altria's insane for thinking he's easy to get along with. Him? Really? ]
That level of manipulation isn't going to get you anywhere. You need to learn some subtlety.
[ He sneers as he speaks, but again, it's not really filled with malice. More importantly: ]
It'd be a shame if you got your pretty little face cut up by a trap.
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I'm not so fragile that a little trap or two will stop me! Just watch me!
[And she is stalking right up to the statue so she's even closer (only a few paces, given how close she already was), and starts tearing at the vines that are covering it. At least she has gloves, because some of them are definitely thorny... but if she notices any pinpricks, she doesn't really seem to be giving any sign of it.
(Also if she is being even louder than usual, it's because she is still Embarrassed.)]
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He's not watching out for traps.]no subject
Anyway, naturally she does not notice that this means he is doing nothing while she does all of the work. Instead, she tugs and pulls and rips and tears at those vines until finally, she manages to unearth the entire statue properly.
She tosses the last of the thorny, choking vines off to one side, turning to grin at him triumphantly.]
There...! One down! That wasn't tough at all!
[Even through the gloves, her hands are a little scuffed up--but it's hardly anything as far as she's concerned. And the statue is unfamiliar to her, so she turns away easily.]
Onto the next one.
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No. He looks away, back to Altria, and then to the garden surrounding them. He's not going to let a stupid statue get the better of him—not going to let anything get the jump on them. There's something wrong with this city—moreso than its bizarre appearance, its alien, towering buildings, blocky and occupying far too much space, an empty husk of a city, bereft of its citizens.
He quietly follows Altria, expanding his senses to keep an eye on their surroundings. ]
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She only manages to unearth about half of it before she freezes, though, staring at the face and the features that she's managed to reveal.]
H... huh?
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[ He steps up to stand beside Altria and look at the statue. This one, he doesn't recognize. It doesn't give him that unsettling feeling. But maybe she recognizes the face. He looks at her expression carefully. ]
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It's a statue with feminine features, but otherwise, it seems much too vague, much too worn and rounded by the elements to really be someone in particular--and yet, to Altria, she's so sure--]
... Nope! Nothing's wrong at all. It's funny, but... I think I've been seeing things sometimes since coming here.
It's silly though. That's all. [Just... very, very silly.]
O-okay! This statue's done. Let's keep going.
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But he says nothing, even though a multitude of words sit on his tongue, begging to be released into the air. An insult, a show of worry, commiseration—they gather at the back of his throat, heavy.
Instead, he moves next to her and begins to pull at the vines. His hands are not covered like hers but he doesn't mind the thorns. The scratches are nothing compared to what he's experienced in the past. ]
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That's... honestly, so kind. Was it because she stumbled?
She needs to do better, she can't help but think--but it does make her smile come more easily.]
I'm still counting the one I cleared earlier as my point! We can split this one, though. I'll still be winning, after all.
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He'll reevaluate this connection later, when he's alone and has some clarity of mind. ]
Do as you please.
[ He's not planning on racing her for points, but his movements quicken a little, and soon he's off to another statue to clean it up. ]
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Instead, she works quietly as well, removing vines and overgrown foliage from a few more of the statues, before she breathes out a sigh and props her hands on her hips.
Between his work and hers...]
... That looks much better, right? I think we did a great job cleaning this area up! [Weren't you supposed to be looking for clues, Altria?]
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She looks so proud of herself. It's funny, actually, because he knows how she's about to react next. ]
And what did we learn about the city from all this manual labour?
[ That's a knowing smirk on his face. ]
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Th-that's...
I... thought maybe you'd find something if I kept clearing off the statues, so I was... letting you have a chance!
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[ Tsk tsk Altria, he can't believe the gall of you! ]
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But, you're not wrong.
[ He pauses for a moment, looking at the statue closest to them for a moment. ]
Some of them seem familiar to you, don't they?
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[He is right and that's exactly what she was doing and she's not surprised he's onto her, but it's still embarrassing--]
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Of course he picked up on that. It's not like Altria did a good job of ducking the question the first time, right?
And when it comes to trying to find clues... of course he'd want to know.]
... I know there's no way it's possible. This isn't the place where I'm from, so there's no way that statue could be of her. But... it really, really looked like her.
[He was staring at one of the statues very intently before too--was it... also that way for him? There's curiosity in her expression, but she doesn't ask, not outright, not yet.]
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This place is actively trying to mess with us. It's trying to upset us.
[ The general sense of unease he gets from the city isn't just a coincidence, or just because of how strange and foreign it seemed to him. And, if he takes a moment to think, the garden's calm isn't natural either.
He catches eyes with Altria for a second, sees the curiosity lurking just under. She wants to know what he saw, no doubt. There's no reason for him to tell her, so he won't.
... ]
It looked familiar to me too.
[ Once again, his hat is tilted over his eyes. ]
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"It's trying to upset us," he said. It looked familiar to him, in a way that upset him.
Was it someone he cared for, or someone he hated, she wonders. She doesn't know him well enough yet to know which way his heart turns, which would upset him more to see.
Once again, he hides his eyes, but she smiles, if only in the hopes that the expression will bleed into her voice for him.]
I guess we learned something new after all, right? I'm not sure yet what it all means, but... that's still a clue!
That means we did what we set out to do!
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Sardonically: ]
We could've learned that with far less effort. Good job though— [ He claps here. ] I'm sure the statues are happier cleaned.
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I'm sure they are too! Definitely!
[AHEM.]
Anyway... if there isn't anything here, maybe we should keep going.
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Hurry up, or else I'm going to leave you behind.
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Oh my god, I somehow missed this tag /)~(\
oh, no problem at all! ♥
♥♥♥
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