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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citylogs2023-11-01 09:00 pm
no subject
But he does know what it's like to really freak out, so he steps even a little closer, prepared to help. Even if it might not be a full blown panic attack - he can't be sure from the outside - it's clear the other needs a moment in general. ]
It's okay. Try to sit down. [ Even if there's not really a proper bench nearby, but.. you know, sitting down on the steps of the train station is also valid enough, clearly. Daniel will even put a hand on the other's shoulder, just a gentle touch, trying to help guide him down so he can sit without falling over. ]
And just-- take a deep breath.
[ .. Is Noah used to breathing if he's a ghost?
Probably not, right. Guess this sure is one way to get used to it again, Daniel figures. ]
Just focus on your breathing for a few seconds. Nothing else.
no subject
He took a deep breath, putting his face in his hands. He wasn't used to breathing, actually. It was a good thing it happened automatically--until he became aware of it. Then it was a bit more complicated and took some focus.]
I don't know if I know how to do this. Like. Being alive again.
no subject
[ The man does his best to sound sympathetic. And he is that, except it's just-- well, he clearly doesn't have much experience with this sort of thing himself, and he can't even imagine what it's like. Dying, being a ghost, and then somehow being alive again..
It's got to be a wild ride, at least, and Daniel doesn't blame Noah for his reaction to it.
He squats down when the other is sitting, wanting to stay on a more even level with the other so he's not awkwardly looming over the other while he's got so much to process. ]
But you'll figure it out. You know, I-- uh, I'm just a normal human. [ Yes, it still feels weird to have to make that distinction, hence the slight pause there, the stammer. ] But there are plenty of people in this place who have all sorts of similar things going on. Maybe some of them could help you.
no subject
He laughed a little, soft, maybe a touch hysterical.]
I used to be a normal human. It's okay. I don't- [He struggled for words for a moment.] -I'm sorry. I don't want to be a burden.
[But he appreciated the kindness, and he would remember it.
He took a breath, then another.]
So, there's a lot of people here who are, um, out of the ordinary?
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I know a few vampires. They are-- Well, they're a lot more friendly than the stories would suggest. [ Daniel laughs just a little bit, purposefully trying to keep this talk light. Noah already seems like he's got enough to contend with at the moment, so he doesn't want to say anything that could be a little too startling for him. ]
Probably lots more than that too. If anything, sometimes I feel like regular humans like me are kind of in the minority here.
[ He makes a bit of A Face - a nose scrunch, really - as he says it, but it's more for dramatic purposes, smiling again right after. ]
So you have nothing to worry about. You won't be a burden to anyone, so you got nothing to apologize for, alright? I've kind of been taking helping out the new people on my shoulders, so I'll gladly answer any of your questions, or help you with anything you might need help with.
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It must be weird, especially if you're used to everything being- [How did he put it.] -mundane. Or, at least being skeptical about things. My friends freaked out when they found out I was a ghost.
[And he didn't blame them, for the record, even if he'd been telling them--and everyone who would listen--that he was a ghost for as long as he'd known them.
He smiled, weakly.]
Thank you. And that's really nice of you. I'm not sure where I'd even start with questions right now, though.
no subject
Instead Daniel seems to silently contemplate the last part of what the other is saying, until he slowly starts to nod again. ]
Well, if you're not sure about questions.. [ Probably since the other has way too much to think about right now, Daniel figures.
He still remembers how he himself felt when he first appeared here. ]
.. do you maybe want to try and see if you can eat?
[ Daniel figures that ghosts usually can't, anyway. If.. ghost stories are true in the slightest. ]
I got a diner right over there. [ He points at it - it's definitely visible from the train station, not too far off. Just have to cross the square in front of the train station, pretty much. ] We could go there, and I could whip something up for you. Maybe some questions might come to your mind in the meantime.
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He blinked. Then blinked again. He hadn't even been thinking about food, and he hadn't been able to eat anything in seven years. He thought he must have forgotten what most foods tasted like.
He looked in the direction Daniel pointed, craning his neck a bit to get a better look.]
Is- that'd be okay? Cause I'd like that.
[Already, his mind was buzzing with thoughts of all the potential things he could eat.]
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[ Daniel doesn't even wait for an answer, considering the question was pretty much rhetorical in the first place. Instead the man just gets up, gesturing for Noah to come along with him as he starts walking in the direction of the diner. ]
I can even take requests, in case you have any food you'd really like to try. [ Sure, Daniel may not have any details about how long Noah has been stuck like this, but.. well, most hauntings in ghost stories aren't exactly recent. Maybe the poor guy has already been stuck like this for a long while, never able to enjoy a simple comfort like food. ]
no subject
[An inconvenience. But he didn't finish, gesturing vaguely instead before getting up to follow. He'd spent so long alone, and then even when he hadn't been alone, he'd gotten used to not needing anything--or being brushed off if he tried to express concern about something.]
What's, um...usually available? Like, what sort of things are you used to making?
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Ah, well, I've learned to make a pretty big variety of food, considering we've got people from all sorts of places here.. [ He vaguely gestures with a hand while he speaks. ] If you're talking about my speciality though, that's definitely Italian though. I can make a pretty mean pasta, or chicken cacciatore-- my mother's recipe.
no subject
Oh! ...What's chicken cacciatore again?
[He distinctly remembered hearing those words before, might even have eaten it, he just...couldn't recall what it was, exactly. Besides chicken, obviously.]
I'm pretty sure I like Italian stuff.
[Like gelato.]
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His tastes, anyway. Daniel wouldn't blame anyone for not knowing what a specific Italian dish is, especially since he's (unfortunately) aware that some people's exposure to Italian food really doesn't go further than Olive Garden of all things..
No, it's the only being sure he likes something part that's a little more concerning. It could just be that enough time has passed that it's the reason Noah doesn't remember, but Daniel sure hopes it's that rather than some forgetfulness induced by being a ghost. ]
It's a chicken dish. You'll see.
[ He might as well make it now. Especially since Daniel knows most people tend to like it - and it's also something he can make pretty easily at this point, being so used to the recipe.
He holds open the door for Noah when they arrive at the diner, letting the other in before following him and closing the door behind them. Daniel gestures for Noah to pick a seat before he moves over to the kitchen area. ]
Anything else you remember?
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[He wished he could remember more things, especially about food. So much had been lost to the haze of time and his ghostly existence and he knew he wasn't the same as he'd been before- he just didn't know if he felt guilty or frightened by it.
He managed to be surprised when Daniel held the door for him.]
Thank you.
[Settling himself into a seat, he considered the question for a moment.]
About food or- um, I'm not sure. My friends usually drag me to this place that's mostly pizza and burgers. Pizza always looks so good.
no subject
Thankfully it's easy enough to continue to talk from the small kitchen he's working in. Sure, he may go quiet for a moment out of concentration, but things never stay quiet for long until Daniel is already speaking up again. ]
Hey, do you maybe remember how old you.. [ Wait, what verb tense do you even use for a ghost-- ] .. are?
no subject
He also didn't mind any quiet moments. He might not have cooked, potentially ever, but he knew work went into it. And that was an easy question to answer--in the sense that he remembered, at least.]
I was seventeen when I-... um, that was seven years ago.
[He didn't consider himself twenty-four though, nor did he act like it. He would probably forever be seventeen.]
no subject
Hm, maybe he was right about his hesitation with verb tense usage a moment ago there, huh.
It makes Daniel go quiet for a moment, though it's easily covered up by him rummaging around in the kitchen to get a meal going. ]
Do you prefer seventeen? Or twenty-four?
[ The way the other says it doesn't really indicate either of the two, after all, and Daniel would like to get it right. Sure, Noah may be new, but.. with either of those ages he's young enough for a guy in his mid-fifties to get a little fussy over him in that parental sort of way anyway. ]
no subject
Seventeen. I...didn't even get to graduate high school. I couldn't imagine trying to be like 'yeah, I'm twenty-four' when everyone acts like you're supposed to have your crap together by then.
[He'd just be pretending to be an adult, while he really had no idea what he was doing. He wouldn't be able to handle it.]
no subject
[ Please, Daniel is a grownass man in his fifties who definitely doesn't have a single thing together in his life.
Though he likes to pretend he does. So he figures he can at least draw the line at a slightly higher age than 24, just to make Noah feel a little bit better.
He emerges from the kitchen with a plate of food - it does seem to be the Italian chicken dish he was talking about before - and puts the plate down on the table in front of Noah before taking a seat himself. ]
But seventeen is fine. Really-- You must have gone through a lot. [ No one turns out a ghost without having gone through Some Shit. It kind of seems part of the package. ] You deserve to make your own decisions now. And maybe find out what it's like to be alive again.
no subject
[He was a bit dubious of that but it would also be a relief. Not that he was ever going to see twenty-four, so it didn't really matter, but. He was going to try not to think about that too hard, because he'd only make himself sad.
Luckily, there was a distraction from his thoughts in the form of delicious smelling food. His eyes tracked the plate as Daniel approached, like Noah hadn't eaten in- well, years.]
That smells so good.
[He thought over the rest of things, mainly how he must have gone through a lot, while picking up a fork.]
Yeah...I mean, everything was pretty good before- [Before the day of his death. He didn't really have anything to complain about before that, as far as he could remember. But since then...it felt like he'd literally existed solely for one reason.] I haven't really had to make decisions in...years. I feel like there's gonna be a learning curve for being alive again.
no subject
Besides, it gives Daniel some room to talk while the other is eating. ]
Well, you know where you can find food now. You can also just take whatever you want from the supermarkets around the city. You don't even have to pay at those. [ He figures it's probably a good thing to mention, since he's seen so many people struggling with that concept. ] Any empty apartment is also free to claim, so that also takes care of having a roof over your head.
Anything else.. [ He pauses, then leans back in his seat. ] Well, you can always ask your neighbours for help. People here tend to be pretty friendly. But if there's anything specific you can't figure out and can't ask anyone else about, you can always just call me. I don't mind helping out.
[ Daniel smiles a little. ]
I have a seventeen year old kid back home, so I'm used to it. [ It's what's made it feel kind of nice to be able to help the kids out here instead, especially since he misses his own kids so damn much. ]
no subject
The idea of taking things without needing to pay felt an awful lot like stealing, but if that was the way things worked here...he guessed it couldn't actually be considered illegal or wrong or anything. ...Though that made him wonder what would happen if someone left an item in exchange for something they took.]
Think I'm gonna have a learning curve on cooking, too.
[He tried to frame it in a lighthearted, joking way, but it was entirely true.]
But I'm sure I can get the hang of things!
[Asking for help was going to be a little bit hard though, since Noah didn't want to feel like he was bothering people. But then Daniel said Noah could call him if he needed something and Noah felt a surge of emotions.]
Oh- you- thank you.
I'm totally not surprised that you're a dad. You've got like...dad vibes. You know, in a good way.
[Trustworthy, kind, caretaker sort of vibes, Noah meant.]
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Daniel just hopes that it's mostly a good kind of rollercoaster.
And.. well, despite being good about not teasing the other by pointing out the feelings, Daniel can't help but tease a little bit about something else, the corners of his lips curling up into a teasing grin as he asks: ]
In a good way, huh?
[ Please, Daniel, don't make the poor kid feel bad over calling you a dad when you absolutely are one.. ]
So am I supposed to take that as a compliment?
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[Noah was very earnest and emphatic with his reply.]
'Cause you seem like everything a good dad should be.
[And considering their interactions so far, Noah thought anyone would be lucky to have Daniel as a dad. Of course, he was aware there were always multiple facets to a person, but he was struggling to imagine any of Daniel's being like, bad. Though Noah usually gave people the benefit of the doubt and liked to believe in the best in people, but still.
After a moment, he ducked his head, poking his food with his fork, before adding, in a voice that sounded very much like he was trying not to cry-]
And I'm having trouble remembering much about my dad.
no subject
So hearing it? It's nice, even if it's hard for the man to fully believe.
.. even if the continuation of what Noah is saying snaps him right out of those thoughts and that mood. It makes the gaze he looks at the other with a whole lot more concerned. ]
You don't remember your parents?
[ Or is it just his dad? And does this have to do with the ghost business, or is it something from even before that?
It's hard to be sure, especially with how emotional Noah sounds. That could mean anything. ]
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