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rhodos_meme2022-08-10 10:12 am
rhodosmods) wrote in rhodos_meme2022-08-10 10:12 am
Entry tags:
TDM #1
TDM #1: AUGUST
Jump to: Arrival · Sound and Light · Into the Fog · Waking Up to a Nightmare · The Bonfire
Summary · Questions
Summary · Questions
The buildings of the plaza are all medieval stone construction, but they all have modern awnings and glass fronts. Tables out front display tourist wares: little plastic statuettes, postcards, t-shirts. Among these, it's easy to identify Greek lettering, Greek gods, photos of Athens and Crete. Predominant among the souvenirs are items marked with the name Rhodos.
But there are no vendors selling their wares. Even if characters wander into the shops, they are all empty as if their owners just stepped away for a moment. Lights are on, and some of the larger and nicer shops even have the whirr of air conditioning. Food stands waft the aroma of freshly grilled kebabs, and a gelato cart is cold to the touch and the ice cream inside is frosty and delicious.
The plaza where you arrive is set on a slope, and the direction of the sea breeze and the faint sound of waves against a shore indicates pretty strongly that down-slope is the direction of the sea. But looking down the slope from the main plaza, you can see an open archway in a tall stone wall, and beyond it is nothing but mist. Despite the clear sunny day in the plaza, the mist is a dense fog with barely three feet of visibility. If you enter it, you can see your own arms in front of you, but nothing beyond that. The breeze has gone still and the waves no longer sound so much like waves--the sound is warped through the mist so that it almost sounds like sobbing. After about five minutes of determined walking across what feels like flat ground with no other landmarks, you find yourself back at the archway.
Housing can easily be scavenged. Doors are unlocked and the interiors are clean and welcoming, beds freshly made, as if it is a hotel that's been prepared for you rather than anyone's personal residence. And yet, once you've settled upon a place to live, you start to find little signs that you have lived here all along. The photographs on the wall (which weren't there when you first arrived) depict you and your family and friends, even if you came from a world without photography. Upon arrival, you have only the clothing you are wearing, but within a day the closet begins to fill with familiar outfits from home, and within the first week you may find up to five of your own possessions around your new residence.
Note: Wardrobe is limited to what you can reasonably fit inside a non-walk-in apartment closet, what your character would reasonably wear and possess in canon, or what can be scavenged around town. There are two very small clothing boutiques where you can find most basics and a few cute outfits. For starting possessions two may be weapons or magical items, but you may have an additional three mundane items. All other personal items can only be obtained through regains or events.
The first few days in your new home are relatively uneventful. The days are hot and sunny and the nights are warm beneath a dazzling starry sky.
After not quite a week, the noises of a spectacle will lead characters to a small gate in one of the outer walls with steps leading down into the outer moat. The fog surrounding the city walls has drawn back for just this one little area, revealing an open air theater butting up against the castle wall. A path leads away from the theater on either side, but if you walk into the mist on either side you will promptly find yourself walking out of the mist on the opposite side, as if you'd circumnavigated the entire moat in just a few steps. Behind the theater is another high stone wall. Centuries of weathering has added rough footholds and handholds, but it would be a dangerous climb without equipment. Trees grow from the top of the wall, sticking limbs out of the wall of mist and clawing roots into the stones at the top, loosening them so that they're ready to slip at a touch.
The play that is projected onto the wall features shadow puppets, colored lights, and canned soundtrack special effects like the clop of horses hooves or the burst of trumpets. There is no dialogue or narration, so the story can only be roughly pieced together: there is a king and a queen, then a betrayal that leads to the king's murder. Later, the king and the queen appear again, participating in a ritual which seems to involve human sacrifice, a war and a triumphal procession, and then another betrayal and the king is murdered again.
The story repeats three times every night before shutting itself off. The first performance starts at twilight, and each repetition lasts about twenty minutes. Characters who watch it repeatedly will get the sense that it's slightly different each time, but the whole thing is complicated and confusing without any narration or dialogue to provide context, so characters will struggle to pin down how it's different. A slide projector is set up at the top of the amphitheater, with a pair of old speakers on either side of it. If slides are removed from the projector, they show only blank, uncolored plastic. If something is placed in front of the projector light, the scene is projected onto that object. The projector can be turned off, unplugged, or smashed. No matter what is done to it, as soon as no one is actively watching it, it is restored to an undamaged status and resumes playing.
After watching an entire repetition of the performance, some characters may be overcome by a fit of weeping. Tears roll down your cheeks and you can't seem to catch your breath. Despair clutches at your heart, colored by your own personal sorrows, and the weeping can only be stopped by receiving an embrace.
Others may find that the performance inspires them to reminisce. No matter how secretive you might normally be, you find yourself turning to whoever is sitting near you and telling them a story from your past, something that makes you nostalgic or regretful.
After not quite a week, the noises of a spectacle will lead characters to a small gate in one of the outer walls with steps leading down into the outer moat. The fog surrounding the city walls has drawn back for just this one little area, revealing an open air theater butting up against the castle wall. A path leads away from the theater on either side, but if you walk into the mist on either side you will promptly find yourself walking out of the mist on the opposite side, as if you'd circumnavigated the entire moat in just a few steps. Behind the theater is another high stone wall. Centuries of weathering has added rough footholds and handholds, but it would be a dangerous climb without equipment. Trees grow from the top of the wall, sticking limbs out of the wall of mist and clawing roots into the stones at the top, loosening them so that they're ready to slip at a touch.
The story repeats three times every night before shutting itself off. The first performance starts at twilight, and each repetition lasts about twenty minutes. Characters who watch it repeatedly will get the sense that it's slightly different each time, but the whole thing is complicated and confusing without any narration or dialogue to provide context, so characters will struggle to pin down how it's different. A slide projector is set up at the top of the amphitheater, with a pair of old speakers on either side of it. If slides are removed from the projector, they show only blank, uncolored plastic. If something is placed in front of the projector light, the scene is projected onto that object. The projector can be turned off, unplugged, or smashed. No matter what is done to it, as soon as no one is actively watching it, it is restored to an undamaged status and resumes playing.
After watching an entire repetition of the performance, some characters may be overcome by a fit of weeping. Tears roll down your cheeks and you can't seem to catch your breath. Despair clutches at your heart, colored by your own personal sorrows, and the weeping can only be stopped by receiving an embrace.
Others may find that the performance inspires them to reminisce. No matter how secretive you might normally be, you find yourself turning to whoever is sitting near you and telling them a story from your past, something that makes you nostalgic or regretful.
CONTENT WARNING: Cruelty and violence against (monster) dogs
After the characters have been in Rhodos for about three weeks, a heavy fog rolls into town. Unlike the mist that surrounds the city, the fog smells of smoke. Visibility is reduced to a mere ten or fifteen feet.
The electricity goes out, and shops are no longer replenished. Food may still be scavenged, but the food in shops and restaurants will slowly rot and may run out. Battery operated items will continue to work as long as the batteries still have a charge. Running water inside the houses continues to work, but it is sluggish and smells stale, leaving an unpleasant film on the skin.
While out on the streets of the town, characters will begin to encounter the monster dogs of Rhodos. The sound of a dragging chain precedes them, and then the hazy outline of a dog comes into view. It's walking oddly, however, with a sort of staggering limp, and the sound of the chain is underlaid by a low, feral growl. Furless gray skin peels away in patches to reveal bloody muscle. The heavy iron collar around the neck is studded with long black screws, the ends of which pierce the skin of the neck. Hazy eyes are clouded with decomposition, and yet that doesn't seem to prevent the dog from making its way straight toward you.
The dogs are not very fast, nor very smart. They can be outpaced at a brisk walk, and they will lose track of any character who gets more than twenty feet away or behind a closed door. But they are vicious. If you get within a few feet, they will lunge at you and attempt to bite. If two or three of them manage to corner you in a blind alley, you could be in real trouble.
In addition to the dogs, characters will begin to catch glimpses of Manifestations, both their own or those of others. At first you might just catch a glimpse of them through a break in the fog, but after a day or two they can be spotted standing outside of apartment windows and staring in. In either case, they will not approach or attack characters unless you're foolish enough to get within six feet of them. Then, they will attack, and they will pursue at a fast walk until they lose track of you in the fog.
After the characters have been in Rhodos for about three weeks, a heavy fog rolls into town. Unlike the mist that surrounds the city, the fog smells of smoke. Visibility is reduced to a mere ten or fifteen feet.
The electricity goes out, and shops are no longer replenished. Food may still be scavenged, but the food in shops and restaurants will slowly rot and may run out. Battery operated items will continue to work as long as the batteries still have a charge. Running water inside the houses continues to work, but it is sluggish and smells stale, leaving an unpleasant film on the skin.
The dogs are not very fast, nor very smart. They can be outpaced at a brisk walk, and they will lose track of any character who gets more than twenty feet away or behind a closed door. But they are vicious. If you get within a few feet, they will lunge at you and attempt to bite. If two or three of them manage to corner you in a blind alley, you could be in real trouble.
In addition to the dogs, characters will begin to catch glimpses of Manifestations, both their own or those of others. At first you might just catch a glimpse of them through a break in the fog, but after a day or two they can be spotted standing outside of apartment windows and staring in. In either case, they will not approach or attack characters unless you're foolish enough to get within six feet of them. Then, they will attack, and they will pursue at a fast walk until they lose track of you in the fog.
CONTENT WARNING: Blood imagery
On the 28th, characters are awakened by the sound of their front doors being smashed in. It's your own smashing door that awakens you, but you can hear more distant sounds of destruction from the other apartments nearby.
As you scramble out of your bed, you find that the homey, quilted bedding has been soaked through with blood, and it's sagging in the middle with the outline of a human body. But before you have a chance to properly react to that horror, your Manifestation is coming through your bedroom door — more than one of them, if you were sharing that bed with anyone.
You will have to fight or dodge in order to get out of the room. Your Manifestation is out for your blood. You can do damage to it, creating deep wounds and heavy bruises, causing it to stagger and slow for a moment, but no matter how much damage you do it keeps coming for you. Sooner or later, you will need to run.
When you make it out into the streets, you'll find that the entire world has changed. Heavy darkness fills the city, and no stars are visible in the sky. A few lights glow despite the lack of electricity, but they only provide a sickly, red-tinted light. Streets are slick with something that looks like blood, and the stone walls in many places have been transformed into metal or grate. Through the grate, you can catch glimpses of black metal hooks and gory, dripping meat that looks human in origin.
There is no palatable food or water. Anything you have saved has rotted or changed unnaturally into what looks like rotting flesh or lumps of bile. Liquid has turned into blood or black water. The only mercy is that symptoms of hunger, thirst and fatigue stabilize after 24 hours and don't get any worse. Don't worry, it won't be the dehydration that kills you here.
Your Manifestation pursues you tirelessly, and the monster dogs are faster, smarter, and moving in packs. Your home is no longer safe, and staying on the streets is deadly.
On the 28th, characters are awakened by the sound of their front doors being smashed in. It's your own smashing door that awakens you, but you can hear more distant sounds of destruction from the other apartments nearby.
As you scramble out of your bed, you find that the homey, quilted bedding has been soaked through with blood, and it's sagging in the middle with the outline of a human body. But before you have a chance to properly react to that horror, your Manifestation is coming through your bedroom door — more than one of them, if you were sharing that bed with anyone.
You will have to fight or dodge in order to get out of the room. Your Manifestation is out for your blood. You can do damage to it, creating deep wounds and heavy bruises, causing it to stagger and slow for a moment, but no matter how much damage you do it keeps coming for you. Sooner or later, you will need to run.
There is no palatable food or water. Anything you have saved has rotted or changed unnaturally into what looks like rotting flesh or lumps of bile. Liquid has turned into blood or black water. The only mercy is that symptoms of hunger, thirst and fatigue stabilize after 24 hours and don't get any worse. Don't worry, it won't be the dehydration that kills you here.
Your Manifestation pursues you tirelessly, and the monster dogs are faster, smarter, and moving in packs. Your home is no longer safe, and staying on the streets is deadly.
CONTENT WARNING: Body horror, immolation
Sooner or later, you find your way to the bonfire in the middle of the fountain square. There is no longer water in the fountain. Instead, the whole thing towers with flame, fueled by a viscous black substance in the basin.
A tall man stands by the fountain, gazing into the flames as if he is supervising. His suit is true black, fathomless black, while his skin is a dark red-black like the newly formed crust upon a lava flow. His eyes are black pools reflecting the flames. He takes no interest in any approaching characters, and will not respond to any questions. The only thing that will draw his attention to you is an attempted attack. If you try it, your blow lands, but he doesn't seem to take any damage. His head turns toward you and he considers you for a moment, as if he finds it intriguing that you would attempt such a thing. Then he returns his attention to the fire.
The dogs and the Manifestations will not pursue you into the circle of light cast by the bonfire. You can find a sort of respite here.
Time passes. It feels like days, though there is no way to mark the passage of time. The Dark Figure continues to supervise the bonfire.
At last, your attention is drawn to a sort of commotion approaching down one of the main streets that feeds into the plaza. You hear a rattling of metal, and a sort of gibbering moan. The bonfire illuminates first upon a pale, faceless figure which seems to writhe as it approaches, hovering above the paving stones. As it grows closer, you see that the figure is lashed to a square metal frame and bound with strips of barbed wire. Veiled figures on either side bear it forward, and the Dark Figure turns to watch it approach.
The figure upon the frame has no face and no mouth with which to make its agonized moans, but it continues nonetheless. It has limbs but no hands or feet, each limb ending in smooth stumps.
If no one interferes, the Handmaidens carry the frame forward and place it upon the fire.
The Handmaidens can be attacked, and hurt. They cry out indignantly at any attack, and recoil. They will not fight back, but they also will not be discouraged from their task by anything less than persistent violence.
If the pale figure on the frame is rescued by the player characters, it flails and gibbers helplessly, continuing to moan. If the pale figure is consigned to the flames, it begins to scream, and continues screaming for several minutes until the flame finally overcomes it.
In either situation, you begin to cough. Blood spills from your mouth, dribbling down your chin and spattering upon your clothing. But then the droplets begin to slither into letters, forming words that spell out your deepest guilt, in the words you yourself would use to describe it. No attempt to wipe the words away or cover them will prevent their legibility. The blood shines through whatever covers it, catching the firelight so that those around you can clearly read the words.
The Dark Figure and his Handmaidens made their exit while you were coughing. You are left alone with the other Tourists around you, your guilt, and whatever remains of the pale figure upon the frame.
Sooner or later, you find your way to the bonfire in the middle of the fountain square. There is no longer water in the fountain. Instead, the whole thing towers with flame, fueled by a viscous black substance in the basin.
A tall man stands by the fountain, gazing into the flames as if he is supervising. His suit is true black, fathomless black, while his skin is a dark red-black like the newly formed crust upon a lava flow. His eyes are black pools reflecting the flames. He takes no interest in any approaching characters, and will not respond to any questions. The only thing that will draw his attention to you is an attempted attack. If you try it, your blow lands, but he doesn't seem to take any damage. His head turns toward you and he considers you for a moment, as if he finds it intriguing that you would attempt such a thing. Then he returns his attention to the fire.
The dogs and the Manifestations will not pursue you into the circle of light cast by the bonfire. You can find a sort of respite here.
At last, your attention is drawn to a sort of commotion approaching down one of the main streets that feeds into the plaza. You hear a rattling of metal, and a sort of gibbering moan. The bonfire illuminates first upon a pale, faceless figure which seems to writhe as it approaches, hovering above the paving stones. As it grows closer, you see that the figure is lashed to a square metal frame and bound with strips of barbed wire. Veiled figures on either side bear it forward, and the Dark Figure turns to watch it approach.
The figure upon the frame has no face and no mouth with which to make its agonized moans, but it continues nonetheless. It has limbs but no hands or feet, each limb ending in smooth stumps.
If no one interferes, the Handmaidens carry the frame forward and place it upon the fire.
The Handmaidens can be attacked, and hurt. They cry out indignantly at any attack, and recoil. They will not fight back, but they also will not be discouraged from their task by anything less than persistent violence.
If the pale figure on the frame is rescued by the player characters, it flails and gibbers helplessly, continuing to moan. If the pale figure is consigned to the flames, it begins to scream, and continues screaming for several minutes until the flame finally overcomes it.
In either situation, you begin to cough. Blood spills from your mouth, dribbling down your chin and spattering upon your clothing. But then the droplets begin to slither into letters, forming words that spell out your deepest guilt, in the words you yourself would use to describe it. No attempt to wipe the words away or cover them will prevent their legibility. The blood shines through whatever covers it, catching the firelight so that those around you can clearly read the words.
The Dark Figure and his Handmaidens made their exit while you were coughing. You are left alone with the other Tourists around you, your guilt, and whatever remains of the pale figure upon the frame.
Arrival: August 1
Sound and Light: August 5-20
Into the Fog: August 21-27
Waking Up to a Nightmare: August 28-30
The Bonfire: August 31
Welcome to Rhodos! Going forward, events will take place in two parts. The Normal World part of the event posted on the 5th of each month, and it will be a lighter event both in terms of length and thematic content. TDMs will be bi-monthly and will feature an event element or elements for the Normal World which in-game characters may also play with on their own log posts. The sections on Fog and Nightmare worlds for the TDM will generally be the same every month, allowing players to test drive those elements if they'd like, but not including spoilers for the second part of that month's event. The second part of the event will be posted on the 20th of each month, covering events occurring through both the Fog and Nightmare cycles.
Test drive memes are considered game canon.
This won't always be the case, but for the nerds among you who are enjoying this sometimes-accurate tour of Rhodes, all location images in this TDM and housing are accurate to Rhodes.
Lastly, we are in need of mods! We're most in need of help for processing apps and activity. If we aren't able to get some additional mods, we will have to place a cap on applications, and we're hoping we won't have to do that. If you're interested, please send us a message over on the mod contact page. We've gotten the mod volunteers we needed so we should be all clear to proceed without an applications cap. Thank you to everyone who showed interest!
Sound and Light: August 5-20
Into the Fog: August 21-27
Waking Up to a Nightmare: August 28-30
The Bonfire: August 31
Welcome to Rhodos! Going forward, events will take place in two parts. The Normal World part of the event posted on the 5th of each month, and it will be a lighter event both in terms of length and thematic content. TDMs will be bi-monthly and will feature an event element or elements for the Normal World which in-game characters may also play with on their own log posts. The sections on Fog and Nightmare worlds for the TDM will generally be the same every month, allowing players to test drive those elements if they'd like, but not including spoilers for the second part of that month's event. The second part of the event will be posted on the 20th of each month, covering events occurring through both the Fog and Nightmare cycles.
Test drive memes are considered game canon.
This won't always be the case, but for the nerds among you who are enjoying this sometimes-accurate tour of Rhodes, all location images in this TDM and housing are accurate to Rhodes.
cw - vomit
he inhales.
pauses.
it's fine.
given the heat, given the presumed dehydration, given the fact that they'd probably been given something to knock them out, what else did he expect? even if it wasn't something ingestible, telepathy and general mental coercion isn't always gentle or easy to swallow (ha.) )
—it. ( is what he settles on, tone carefully neutral and edging towards distracted. it's still fucking disgusting, thank you very much, he didn't really want to be spending his morning (his morning, regardless of the actual time of day) dodging vomit just after waking up and before he's consumed anything that resembles coffee. ) Better out than in. ( he adds, attention shifting away from eddie and towards their surroundings.
it looks like earth, he guesses, but it's no part of earth he's ever been to — not, of course, that that's ruling out much of the planet.
running a hand through his hair — blonde, dishevelled and damp with sweat — peter tries to work out how long it would have taken to get him from (the former location of) knowhere to earth, before deciding the answer's something along the lines of too flarking long and directing his focus back to eddie. )
You doing okay, kid? ( peter crouches next to eddie — pointedly not in front of, just in case he spews again — and gestures in the direction of buildings that he thinks are shops. ) We can get some water over there, ( probably, but he keeps that to himself. ) And it's out of the sun.
( he lifts a hand to shield his eyes, rocking back onto his heels. ) But before we do that, I'm gonna—. ( he gestures vaguely at the fountain, a brief silence falling between them. ) Wash my boots.
cw; vomit, mention of drug use (sorry forgot to cw my first one!!)
Sorry. Sorry, man. [ he says it after he's done heaving. he looks less green then, more like a put together person. ] I don't know what-- why I feel awful. [ eddie's not used to world travel, to being in different worlds.
he's gone from hawkins to the upside down, sure, but that was one fucked up version of the other thing. not exactly waking up in sunny paradise next to strangers. he spits out what's left in his mouth, wipes a hand over his face. ] Define okay? [ he looks up at peter, pushes himself up so he's sitting not next to the puke. ] Because I've kinda had a fucking rollercoaster of a week where I almost got eaten by demon bats without all... this.. [ he waves his hand around, like that'll explain it.
but that has him looking around and toward the shops peter pointed out. ] Water sounds good. I need to wash my mouth out. Maybe they have toothpaste or something too.
Sorry about your boots. Really. I normally don't puke unless I've taken something really fucked up and I'm pretty sure it wasn't that. [ but with that eddie pushes himself up to his feet, sways but steadies himself. he's fine. totally good to walk. totally rambling though. ]
omg this took me twenty years I AM SO SORRY
( he says as he's making his way over to the fountain. it's half-mumbled to himself, half-said to eddie, but peter doesn't take any special care to make sure that eddie hears him. he knows precisely why he feels awful, and he knows he has precisely himself to blame. ) And by 'okay', I mean— ( he starts, turning back towards eddie to make sure, this time, that he can hear. peter pauses to step up onto the stone edge of the fountain and dip his boots, one by one, into the water.
the soft sloshing of the water is kind of entrancing and if he didn't know who else had been washing their puke-covered boots in it, he'd be tempted to splash some on his face to cool down a little.
(nevermind.) ) —not dead? ( it had seemed like the right thing to ask, but given eddie's answer (dude, what the fuck?) and the whole everything of their situation, he's not entirely sure what he'd meant by 'okay'. most people didn't do this kind of thing for a living.
he shifts his weight and drops to sit on the edge of the fountain, waiting for eddie to stand and make his way over. ) Honestly? ( he remarks suddenly, deciding to skip past the demon bat thing unless eddie wants to talk about it, which — is totally possible, given he brought it up apropos of nothing. ) I have got the mother of all hangovers, so we're probably lucky I didn't join you.
( it's punctuated by a quick grin that doesn't quite reach his eyes and whilst it's semi true, it's meant more to make eddie feel at least slightly better about hurling in the middle of a really nice patio in what looks to be the mediterranean than it is anything else.
a beat.
a long glance as eddie sways on his feet. )
—I'm not carrying you.
( he will if he has to. )