Let's Play: Inside Woman by Andy Phillips (now complete!)

It isn’t clear how we could mark a ball, though; you can’t take anything into the tank with you (and the attendant prevents you if you to throw objects into the tank from outside). Trying to SCRATCH BALL or BITE BALL doesn’t achieve anything (the game doesn’t know those verbs). I thought perhaps we could use the ability to place a ball over the lightbulb to accomplish this, but that plan fails on two counts: you can’t read the number on the ball when it’s on the bulb any better than you can read it any other time, and if you do place a ball over the bulb, it seems to have floated away by the time you get out of the tank and then back in for another go.

(On a related note, how are these big, heavy metal balls floating in a tank of water? Are they hollow, with the overall density calculated very carefully to provide precisely neutral buoyancy?)

The latest save, in case anyone wants to experiment:
letsplay-24.glksave.txt (7.5 KB)

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I wanted to try out the save (the first time doing so here). I messed around with it for a while and was stymied.

I ended up cheating my way through. My opinion of the puzzles is that the answers are (very mild spoilers) somewhat unfair (I was going to say ‘stupid’ but I think I was just mad I couldn’t figure it out. I looked at the hints afterwards, and one thing the hints don’t mention that you wondered about is whether you need something from another area or not. The answer to that is not at all, everything you need is here.

All other information I could provide is already in the hints.

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What happens if you cover the bulb with the ball and show your watch to the attendant?

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Oh yeah, your watch has numbers on it! If you sync your ball pick to the time that could work.

(I’m having a hard time picturing what this would actually look like, but eh, it’s a parser puzzle, noodle arms are par for course)

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>TAKE BALL
You select a ball at random.

You can hold your breath for a long time, but you’ll have to come up for air soon.

>PUT BALL ON BULB
(the black metal ball on the covered lightbulb)
You place the metal ball onto the bulb. Aside from a tiny ring around the edge, it completely covers the plastic, leaving you in near total darkness.

Your wristwatch display glows blue, a colour that casts the room in a whole different light – ocean, azure and cyan amongst others. Still, you shouldn’t complain; it’s ample enough illumination to see what you’re doing.

>SHOW WATCH TO ATTENDANT
You press your illuminated wristwatch against the glass, hoping to fool the attendant. The African woman climbs the ladder, opens the top of the vat, and helps you out.

Lucky Dip
That’s the official title, but you’d call it the unlucky dunk. In this casino, you don’t reach into a pile of balls – no, you’re expected to submerge yourself in a see through vat of dirty water to claim your prize. Well, look on the bright side; the attendant will be the only one watching. You can avoid taking the plunge by heading northeast or east.

The “game” is being supervised by another female casino employee.

You can also see a carrier bag (in which are a datastick, a camera pen, a fake antiviral inhaler (which is closed), a Waterline Club member’s pass, a painted steel rose, this year’s calendar and a Tania Rourke subbuteo piece) and a Natalia subbuteo piece here.

The attendant waits for your bodysuit to dry out before speaking.

“You got balls lady, I’ll give you that,” she says. “You just chose the wrong one. You were looking for 243, but picked 824. Unlucky, but were you really expecting to win? It’s odd – I thought the balls only went up to 800.”

No longer required as a light source, your wristwatch display fades until only the time remains.

It was 08:24 when we showed the watch to the attendant, so this looks pretty good! Unfortunately, because we waited for the 08:00 lottery draw, we’ve just missed the window when we can pull this trick off (the numbers on the balls only go up to 800, and the attendant won’t let you pick a number higher than that), so we’ll have to wait until the next morning to actually get our win. But it still won’t be the longest amount of time we’ve stood and waited so far!

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Part 25 - The Fastest Gun in the East

Thanks to @BitterlyIndifferent , we’ve realised that the glowing numbers on our wristwatch are close enough to the glowing numbers on the floating metal balls to fool the attendant! Unfortunately, we realised this just after 08:00, which means that we resume our story after waiting around outside the Lucky Dip area for a whole day, as our watch shows 01:00 …

>SAY 105 TO WOMAN
“Okay. You’re up,” says the attendant. “Dive in the pool, pick a ball. Show me the one numbered 105 and you’re a winner.”

>U
You climb the ladder, lift your feet over the edge of the vat, and lower yourself into the muddy water.

Lucky Dip (in the vat of dirty water)
The water is so clogged with mud you can barely see your hands, and you’re constantly colliding into metal balls. What little light there is comes from a single, covered bulb at the tank’s base.

The casino attendant watches through the glass – you can hardly see her.

>TAKE BALL
You select a ball at random.

>PUT BALL ON BULB
(the black metal ball on the covered lightbulb)
You place the metal ball onto the bulb. Aside from a tiny ring around the edge, it completely covers the plastic, leaving you in near total darkness.

Your wristwatch display glows blue, a colour that casts the room in a whole different light – ocean, azure and cyan amongst others. Still, you shouldn’t complain; it’s ample enough illumination to see what you’re doing.

You can hold your breath for a long time, but you’ll have to come up for air soon.

It’s actually still only 01:04, but we have a turn to spare in the pool anyway before our air runs out.

>WAIT
Time passes.

>SHOW WATCH TO WOMAN
You press your illuminated wristwatch against the glass, hoping to fool the attendant. The African woman climbs the ladder, opens the top of the vat, and helps you out.

Lucky Dip
That’s the official title, but you’d call it the unlucky dunk. In this casino, you don’t reach into a pile of balls – no, you’re expected to submerge yourself in a see through vat of dirty water to claim your prize. Well, look on the bright side; the attendant will be the only one watching. You can avoid taking the plunge by heading northeast or east.

The “game” is being supervised by another female casino employee.

You can also see a carrier bag (in which are a datastick, a camera pen, a fake antiviral inhaler (which is closed), a Waterline Club member’s pass, a painted steel rose, this year’s calendar and a Tania Rourke subbuteo piece) and a Natalia subbuteo piece here.

The attendant waits for your bodysuit to dry out before speaking.

“Well, you wanted ball number 105,” she says. “And you found it! That wristwatch trick’s an old one. I saw the colon, and that’s a total giveaway. But the manager likes to hear about people who cheat, because they make the most out of limited resources. I’ll be sure to tell him about you.”

No longer required as a light source, your wristwatch display fades until only the time remains.

[Your score has just gone up by three points.]

Ah, so our subterfuge wasn’t actually all that convincing after all, but since the whole thing is a test, it doesn’t matter.

>TAKE ALL
carrier bag: Taken.
Natalia subbuteo piece: Taken.
casino attendant: The holstered plasma pistol she carries makes you reconsider.
vat of dirty water: That’s hardly portable.

>E

Wheel Of Fate

The attendant in charge of the Wheel of Fate is a Japanese woman.

We solved the lottery puzzle quite happily, and the Lucky Dip was a clever puzzle which was just slightly underclued for me to have figured it out by myself. The wheel, I’m less convinced by, because having eventually peeked at the hints, what we need to do is:

>SPIN WHEEL
With no real strategy, you grab the disc with both hands and give it a hefty tug. The Wheel of Fate spins before your eyes, so fast its segments become a blur of gold and black. The pointer clunks repeatedly as it collides with the rods.

>LISTEN
You close your eyes, listening to the clunking of rubber against plastic. Counting the sounds over a period of ten seconds, you estimate the turn rate of the wheel.

The wheel comes to a stop with the pointer indicating one of the many black segments.

“No win for you this time lady,” the attendant says. “You rely too much on luck.”

Out previous attempt to spin the wheel so that it lands on gold was a failure, but having gauged the rotation speed of the wheel by listening to it, we can now:

>SPIN WHEEL TO GOLD
Bearing your mental calculations in mind, you look at where the gold segment is and spin the wheel accordingly. Once again, its colours become a blur.

>Z
Time passes.

The wheel comes to a stop with the pointer indicating the solitary gold segment.

“We got a winner!” proclaims the Japanese woman. “I saw you, closing your eyes and listening in. That’s the sort of awareness the manager likes to see in his employees. I’ll be sure to pass on my recommendation.”

[Your score has just gone up by two points.]

>N

Fame And Fortune

A female Hispanic attendant stands by the north entrance, keeping a close eye on the front door and the spiral stairs that lead up to the manager’s office.

“My colleagues have told me about you,” the woman says. “You’ve got some skill. You’re smart, attentive, ambitious. But can you hold your own in a firefight? You look like you could, but looking and doing are two different things. Tell you what – take this licence for the gaming zone one level down. Score two thousand points or more on ‘Fastest Gun in the East’ and I’ll let you in to see the manager.”

When the attendant’s finished talking, she hands you the licence she mentioned.

Man, I should have been a passcard manufacturer. With the amount of business those guys do in the Arcology, I’d have been sunning it up on the sands of New Cairo by now.

[Your score has just gone up by three points.]

We’ve not been to the Game Zone yet, but it looks like if we did we’d probably have found it a dead end without this license anyway, so time to go check it out!

>X LICENSE
The card’s clear plastic, roughly six centimetres by four. Nothing to identify you personally – no name, citizen number or photograph. All that’s on it are a few words: GAMING ZONE LICENCE - ADMIT ONE ADULT. Apparently playing games in the Utopia Arcology is a privilege, not a right.

>FOCUS IT
You’re on a vitally important mission, and you want to play games?

Nanci has not yet cottoned on to the subquest-heavy nature of our assignment here.

>N

Transporter Ring

In case you get lost – a strong possibility in such a mammoth construction – information points are located every hundred metres.

>D
As you approach the access tunnel for level 28, a USF guard scans you with an electronic handheld device. After a series of beeps, an LED on the scanner turns green, and the trooper waves you through into the elevator tube. A short and exhilerating ride later, you arrive at your destination.

>S
Showing your licence to the USF trooper on duty, you proceed into the…

Game Zone
This air conditioned glass pyramid is where the Arcology’s citizens come to play. There are many games on offer, from the purely physical (squash courts, playing fields) to displays of skill (firing ranges, dancing mats). And then you’ve got your virtual reality machines, whole other worlds to conquer. Stunning visuals – you’re above the smog clouds, and can see the sky through the roof – but hardly tranquil with all the sounds of exertion and sound effects.

The “Fastest Gun in the East” is the latest virtual reality import from Japan. You’d think a sleek, black motorcycle would be a crowd puller, but when other games let you control spaceships, time machines and plasma turrets, it’s not such a big deal.

There’s very little doubt about what we’re here for, but let’s just check:

>X SQUASH
The other games aren’t important to your mission.

>X MATS
The other games aren’t important to your mission.

Ok, having been thoroughly steered towards this one game, let’s take a look at what we’re dealing with.

>X FASTEST GUN
You get to be an Asian superspy! So what if you’re one already? You don’t have an outlandish, gleaming black motorcycle in your garage. Being an import, the videogame’s on trial so there’s no fee. To get started, just jump on the bike and start the engine.

Given that Utopia is meant to be the epitome of unrestrained capitalism, we’re getting to do a lot of stuff for free lately!

>GET ON BIKE
You sit down on the black motorcycle.

>START ENGINE
You switch on the motorcycle’s engine. Blue electricity bolts conduct along the black metal, converging on the rider’s seat. The lightning passes through your supposedly insulated bodysuit. There’s a flash of blinding light, and then you’re in cyberspace.

This is a special effect, right? There isn’t literally electricity arcing over the bike while we’re sitting on it?

Motorcycle Showroom (on the superbike)
This is first class cyberspace architecture. Forget basic, coloured shapes and lazy programming; this is a virtual, fully textured world that looks just like the real deal. You’re surrounded by motorbikes – naturally, yours is the best – on the top floor of a towering skyscraper. There are no walls, only windows that provide a panoramic view of downtown Tokyo by night.

With no backstory provided by the developers, you have no idea how you got here. But whatever you did ticked someone off – alarm bells are ringing and there’s a goon squad gunning for you.

>X ME
You’re this young, supersexy Japanese woman wearing a tight fitting, shiny black leather catsuit to match your motorcycle. It goes without saying you’re also strong, athletic, and a crack shot with a plasma pistol. Last part aside, player and avatar are a good fit.

I put a game about being a sexy, black-clad Asian spy in your game about being a sexy, black-clad Asian spy!

>I
All you have is your trusty plasma pistol.

Plasma bolts fly past, way off target.

Pretty clear what’s expected of us here, I think:

>SHOOT GOONS
(with the plasma pistol)
You open fire, taking out a dozen guards before the rest take cover.

Enemies continue to spawn.

[ You earned 100 points. ]

Ok, let’s get moving!

>RIDE BIKE
(the superbike)
But you’re already on the superbike.

The guards fire at you, but these guys are hopeless shots.

>SHOOT GUARDS
(with the plasma pistol)
The guards duck to avoid your plasma bolts.

Plasma bolts fly past, way off target.

>N
You have no idea which direction is which, but you could ride towards specific areas.

Enemies continue to spawn.

Well, the only landmark mentioned is those huge panoramic windows, and since we’re inside a computer game where we can’t really be hurt, let’s do this!

>RIDE TOWARDS WINDOWS
Revving up the engine, you ride your motorcycle through the enemy, knocking half the guards over and shooting the rest as you gather speed. You press the accelerator pedal and head straight for the window facing the next highest building. Glass shatters, raining down on your head. The effect is cosmetic – none of the shards harm you in the slightest. After a gravity defying, five hundred metre flight, you land on the…

Yamitsi Corporation Roof (on the superbike)
You’ve heard of them, the second largest company in the world after you know who. Yamitsi must be desperate if they’ve shelled out credits to promote themselves in a cyberspace game. Onto more important matters: the roof is one treacherous, slippery layer of ice (it’s winter in Tokyo, didn’t you know?) and the only way down’s a padlocked metal door up ahead.

You’ve attracted the attention of the big guns – four huge chain cannons mounted on a hovering jetcopter. This must be the boss.

The jetcopter targets you with a searchlight. Trying to outrun it, you accelerate towards the door. You need to buy some time!

[ You earned 300 points. ]

If it’s the boss of a shoot-em-up, we should be able to take out its individual weapons, right?

>SHOOT CANNONS
(with the plasma pistol)
You can’t see for the searchlight!

This game has a steep difficulty curve all right. You’ve gone from battling incompetent guards who couldn’t hit you in a million years to taking on a heavily armed jetcopter that can kill you with one shot – which the pilot ably demonstrates.

*** Game Over ***

Game Zone (on the superbike)
This air conditioned glass pyramid is where the Arcology’s citizens come to play. There are many games on offer, from the purely physical (squash courts, playing fields) to displays of skill (firing ranges, dancing mats). And then you’ve got your virtual reality machines, whole other worlds to conquer. Stunning visuals – you’re above the smog clouds, and can see the sky through the roof – but hardly tranquil with all the sounds of exertion and sound effects.

You’ve beaten your previous high score! When prompted, you enter your name. The score table reads:

LUCY SONG    --  3900
IVORY W RULZ --  3500
MTHR NATURE  --  2425
MEAGAN UFFAN --  1500
SLOW WEST    --  500

Although we were prompted to enter our name, our score of 400 doesn’t actually get us onto the table. We were told that we need to score at least 2000 to be allowed to meet with the casino boss, so we’ll try again in a moment. But first, who are these other players?

  • SLOW WEST is just a pun on the name of the game itself, “Fastest Gun in the East”
  • MEAGAN UFFAN is the gaming obsessive we met in the arcade on the casino level (UFFAN being “Utopia Freedom Fan”)
  • MTHR NATURE is supposedly the leader of the Utopian resistance; presumably it isn’t really her who earned this high score, unless she’s taking a very relaxed approach to her secret identity
  • IVORY W is cyberspace executive Ivory Worm, whose high score on this arcade game and use of the word “RULZ” still isn’t convincing me to take her as seriously as her torture-and-murder-loving sisters
  • But who is LUCY SONG?

Anyway, let’s get back into the game for another go:

>SWITCH ON ENGINE
You switch on the motorcycle’s engine. Blue electricity bolts conduct along the black metal, converging on the rider’s seat. The lightning passes through your supposedly insulated bodysuit. There’s a flash of blinding light, and then you’re in cyberspace.

Motorcycle Showroom (on the superbike)
This is first class cyberspace architecture. Forget basic, coloured shapes and lazy programming; this is a virtual, fully textured world that looks just like the real deal. You’re surrounded by motorbikes – naturally, yours is the best – on the top floor of a towering skyscraper. There are no walls, only windows that provide a panoramic view of downtown Tokyo by night.

With no backstory provided by the developers, you have no idea how you got here. But whatever you did ticked someone off – alarm bells are ringing and there’s a goon squad gunning for you.

>SHOOT GOONS
(with the plasma pistol)
You open fire, taking out a dozen guards before the rest take cover.

[ You earned 100 points. ]

>RIDE TOWARDS WINDOWS
Revving up the engine, you ride your motorcycle through the enemy, knocking half the guards over and shooting the rest as you gather speed. You press the accelerator pedal and head straight for the window facing the next highest building. Glass shatters, raining down on your head. The effect is cosmetic – none of the shards harm you in the slightest. After a gravity defying, five hundred metre flight, you land on the…

Yamitsi Corporation Roof (on the superbike)
You’ve heard of them, the second largest company in the world after you know who. Yamitsi must be desperate if they’ve shelled out credits to promote themselves in a cyberspace game. Onto more important matters: the roof is one treacherous, slippery layer of ice (it’s winter in Tokyo, didn’t you know?) and the only way down’s a padlocked metal door up ahead.

You’ve attracted the attention of the big guns – four huge chain cannons mounted on a hovering jetcopter. This must be the boss.

The jetcopter targets you with a searchlight. Trying to outrun it, you accelerate towards the door. You need to buy some time!

[ You earned 300 points. ]

The lock on the door is mentioned pretty prominently, so maybe we’re supposed to …

>SHOOT PADLOCK
(with the plasma pistol)
You shoot off the padlock, which melts away on the ice. For some inexplicable, physics defying reason, the door swings outwards.

This game has a steep difficulty curve all right. You’ve gone from battling incompetent guards who couldn’t hit you in a million years to taking on a heavily armed jetcopter that can kill you with one shot – which the pilot ably demonstrates.

We’ll obviously need to shoot the lock open to progress, but I guess we were meant to do something to “buy some time” first. We get the same game over message and the same high score table (which I’ve cut, because otherwise we’d be seeing it a lot), but this time I remember that we can UNDO rather than replaying from the beginning every time:

>UNDO
Yamitsi Corporation Roof
[Previous turn undone.]

Maybe we should do something dramatic to distract the copter pilot?

>JUMP OFF BIKE
I only understood you as far as wanting to jump.

>JUMP
That action hasn’t been programmed. All you can do is look, ride and shoot.

This game has a steep difficulty curve all right. You’ve gone from battling incompetent guards who couldn’t hit you in a million years to taking on a heavily armed jetcopter that can kill you with one shot – which the pilot ably demonstrates.

Ah, ok. So we have confirmation that we’re playing a limited parser game here—in fact, we’re pretty much playing Gun Mute on a motorbike. What else can we shoot?

>UNDO
Yamitsi Corporation Roof
[Previous turn undone.]

>SHOOT ICE
That’s not important to your mission.

>SHOOT ROOF
That’s not important to your mission.

>SHOOT BIKE
(with the plasma pistol)
You should concentrate on dealing with threats.

This game has a steep difficulty curve all right. You’ve gone from battling incompetent guards who couldn’t hit you in a million years to taking on a heavily armed jetcopter that can kill you with one shot – which the pilot ably demonstrates.

Maybe we need to use our other verb?

>UNDO
Yamitsi Corporation Roof
[Previous turn undone.]

>RIDE OFF ROOF
You can’t see any such thing.

>RIDE TOWARDS DOOR
You’re already heading in that direction.

This game has a steep difficulty curve all right. You’ve gone from battling incompetent guards who couldn’t hit you in a million years to taking on a heavily armed jetcopter that can kill you with one shot – which the pilot ably demonstrates.

Did we try just shooting the copter?

>UNDO
Yamitsi Corporation Roof
[Previous turn undone.]

>SHOOT COPTER
(with the plasma pistol)
You can’t see for the searchlight!

This game has a steep difficulty curve all right. You’ve gone from battling incompetent guards who couldn’t hit you in a million years to taking on a heavily armed jetcopter that can kill you with one shot – which the pilot ably demonstrates.

Ok, no, wait, I get it:

>UNDO
Yamitsi Corporation Roof
[Previous turn undone.]

>SHOOT SEARCHLIGHT
(with the plasma pistol)
You target the jetcopter’s searchlight, taking it out with a single bolt from your plasma pistol. The pilot has trouble seeing you in the dark. You’ve earned a little breathing space, but not much.

You’re closing in on the padlocked door.

[ You earned 250 points. ]

>SHOOT DOOR
(with the plasma pistol)
The plasma bolt burns a hole in the metal door, but it’s nowhere near big enough to get a bike through.

Finally realising the door’s locked, you slam on the brakes. They do little on so slippery a surface, and you skid out of control. The motorcycle goes up in flames, taking you with it.

*** Game Over ***

Game Zone (on the superbike)
This air conditioned glass pyramid is where the Arcology’s citizens come to play. There are many games on offer, from the purely physical (squash courts, playing fields) to displays of skill (firing ranges, dancing mats). And then you’ve got your virtual reality machines, whole other worlds to conquer. Stunning visuals – you’re above the smog clouds, and can see the sky through the roof – but hardly tranquil with all the sounds of exertion and sound effects.

You’ve beaten your previous high score! When prompted, you enter your name. The score table reads:

LUCY SONG    --  3900
IVORY W RULZ --  3500
MTHR NATURE  --  2425
MEAGAN UFFAN --  1500
ALICE LING   --  650

Ok, we made it onto the scoreboard this time. Unfortunately, having realised earlier that we needed to shoot the padlock off to open the door, this time I forgot and just tried (ineffectively) to blast a hole in the door itself instead. Let’s rewind:

>UNDO
Yamitsi Corporation Roof
[Previous turn undone.]

>SHOOT LOCK
(with the plasma pistol)
You shoot off the padlock, which melts away on the ice. For some inexplicable, physics defying reason, the door swings outwards.

Before the helicopter can lock on again, you drive your motorcycle through the door.

Stairwell
Taking the elevator would be too easy. Instead, you’re forced to descend twenty five floors of concrete steps to street level, enduring a bumpy ride and control issues along the way. You needn’t worry about sparks blowing your superbike’s fuel tank – the game designers implemented fire extinguishers on every floor.

You hear footsteps below. Someone – no, make that many people – are on their way up to meet you.

[ You earned 50 points. ]

>RIDE DOWN
(the stairwell)
You drive down the steps, encountering a group of armed men in black. In such a confined space, even these poorly trained thugs can’t miss. You take a couple down before one shoots you in the head – an instant kill.

To be honest I’m impressed that we even survived riding a superbike down a steep staircase.

>UNDO
Stairwell
[Previous turn undone.]

>RIDE UP
You have no idea which direction is which, but you could ride towards specific areas.

Those footsteps are getting closer.

>LOOK

Stairwell
Taking the elevator would be too easy. Instead, you’re forced to descend twenty five floors of concrete steps to street level, enduring a bumpy ride and control issues along the way. You needn’t worry about sparks blowing your superbike’s fuel tank – the game designers implemented fire extinguishers on every floor.

“She’s up here!” yells a man. The footsteps are very close now, three floors down at most.

Looks like we need to get ourselves some cover, and there’s a prominent noun in the room description:

>SHOOT EXTINGUISHERS
(with the plasma pistol)
One well placed shot, and up they go in smoke – thick, white smoke that makes it very difficult to see.

You see shadows through the smoke: men carrying plasma pistols and primed fission grenades – explosives that pack quite a wallop.

[ You earned 100 points. ]

And the game sure wants us to make sure we’ve noticed those grenades:

>SHOOT GRENADES
(with the plasma pistol)
Using their own weapons against them, you target one of the goon’s fission grenades. Hit by a plasma bolt, it heats up then explodes in a mini mushroom cloud, taking out the whole squad. Being a game character and immune to radiation, you drive on down to the…

Streets of Tokyo (on the superbike)
They called it the Land of the Rising Sun, but with so many skyscapers the pedestrians would be lucky to see a sunrise. At present it’s night, and animated neon signs and holoboards are reflected in puddles, turning the roads a psychadelic mix of gold, bright blue and magenta. Market peddlers flog their wares from under awnings, the only cover from the falling snow.

These men sure are persistent. You’ve left the footsoldiers behind and now they’re coming after you in an armoured sedan. Navigating the late night traffic is a cinch on your motorycle, so outrunning the car shouldn’t be a problem.

[ You earned 250 points. ]

>SHOOT SEDAN
(with the plasma pistol)
Your plasma bolt is absorbed by the sedan’s shielding.

The sedan struggles to keep up.

I’ve seen enough chase scenes to know what we do here:

>SHOOT WHEELS
(with the plasma pistol)
Performing a 360 degree turn at high speed (as only a superspy can), you shoot the sedan’s two front tires. The car swerves, skids across a puddle, strikes the curb, and flips onto its roof. Continuing through the traffic, you leave the wreckage behind.

Having learned their lesson, the enemy has sent motorcycles after you. Their riders are the same goons in black – do these guys ever give up? And… Uh-oh, there’s a tanker truck slowing the traffic ahead.

[ You earned 300 points. ]

>RIDE TOWARDS TANKER
Crashing into a loaded oil tanker is not advised.

The bikers shoot at you with plasma pistols, but they’re too far away to be of concern.

>SHOOT TANKER
(with the plasma pistol)
You fire away at the oil tanker. Plasma bolts melt through, setting the fuel alight. The truck explodes in a massive fireball, which you and the pursuing bikers all circle to avoid. Despite not killing a single enemy, the game designers see fit to reward you.

The motorcycle riders give up the chase. One minute later the reason becomes apparent. There’s a roadblock ahead! Three enemy snipers stand on a truck parked side on under a holoboard.

[ You earned 100 points. ]

Can we take them all out at once by blowing up the truck that they’re standing on?

>SHOOT TRUCK
(with the plasma pistol)
Your plasma bolts do little damage against the truck.

The snipers target you and open fire. These guys are much better shots than the other enemies you’ve encountered. All three score direct hits on your head. Goodbye, Miss Superspy.

Guess not.

>UNDO
Streets of Tokyo
[Previous turn undone.]

>SHOOT SNIPERS
(with the plasma pistol)
These men aren’t the only expert shots on the streets of Tokyo tonight. Blam, blam, blam – and all three are dead.

With the snipers down, there’s the large problem of the parked truck. Seeing no other way to avoid it, you prepare to drive around.

[ You earned 100 points. ]

>DRIVE AROUND TRUCK
You can’t see any such thing.

Well, it said we were about to drive around anyway, so I guess we just let the scene play out.

>Z
Time passes in the game.

You drive round the parked truck and continue along Tokyo’s streets.

>Z
Time passes in the game.

Whirring rotors signal the return of the jetcopter. It hovers above the street, a half kilometre ahead. Even at this range, its cannons are deadly accurate. They begin to track you, preparing to fire.

The copter is no longer dazzling us with it’s searchlight, so let’s see if our original inclination to shoot its cannons off was correct:

>SHOOT CANNONS
(with the plasma pistol)
The jetcopter may have bigger guns, but against a superspy they’re just another target for her exceptional aim. Four blasts from your plasma pistol, and they’re all out of commission.

With its primary weapons disabled, the jetcopter prepares to launch visual tracking missiles. You need to get out of sight!

[ You earned 300 points. ]

In the thick of the action, I’ve entirely forgotten what there might be around us that we can use as cover.

>LOOK

Streets of Tokyo (on the superbike)
They called it the Land of the Rising Sun, but with so many skyscapers the pedestrians would be lucky to see a sunrise. At present it’s night, and animated neon signs and holoboards are reflected in puddles, turning the roads a psychadelic mix of gold, bright blue and magenta. Market peddlers flog their wares from under awnings, the only cover from the falling snow.

The boss jetcopter has returned to finish the job.

With a loud roar, the missile launches towards you. You have a split second to see it coming before it explodes, launching your already dead body into the air.

*** Game Over ***

Game Zone (on the superbike)
This air conditioned glass pyramid is where the Arcology’s citizens come to play. There are many games on offer, from the purely physical (squash courts, playing fields) to displays of skill (firing ranges, dancing mats). And then you’ve got your virtual reality machines, whole other worlds to conquer. Stunning visuals – you’re above the smog clouds, and can see the sky through the roof – but hardly tranquil with all the sounds of exertion and sound effects.

You’ve beaten your previous high score! When prompted, you enter your name. The score table reads:

LUCY SONG    --  3900
IVORY W RULZ --  3500
MTHR NATURE  --  2425
ALICE LING   --  1850
MEAGAN UFFAN --  1500

Sorry, Meagan, but we’ve got you outclassed in the high-octane superspy stakes.

>UNDO
Streets of Tokyo
[Previous turn undone.]

>DRIVE TOWARDS AWNINGS
You can’t ride on top of them.

With a loud roar, the missile launches towards you. You have a split second to see it coming before it explodes, launching your already dead body into the air.

Fortunately we’ve enough experience of this game by now to guess the phrasing it was looking for on the second try.

>UNDO
Streets of Tokyo
[Previous turn undone.]

>DRIVE UNDER AWNINGS
You drive your motorcycle under the awnings. The jetcopter loses visual, rendering its missile harmless. But it’s still up ahead waiting for you!

[ You earned 150 points. ]

>SHOOT COPTER
(with the plasma pistol)
You can’t see the jetcopter!

To your right, slap bang in the middle of the street, is an inclined metal ramp. There’s no logical reason for it being there, but this game is all about action and exciting stunts.

How can we possibly resist?

>RIDE RAMP
Braving the open streets, you drive out from under cover. It becomes a race: your motorcycle against the helicopter’s missile. Luckily (or by flawed game design) you reach the ramp first. Speeding up it, your launch your bike into the air. Behind you, the missile explodes, sending innocent bystanders flying in all directions. You emerge from the searing flames, heading straight for the hovering jetcopter. It waits for you, rotor blades spinning.

[ You earned 200 points. ]

>SHOOT BLADES
(with the plasma pistol)
The game goes into slow motion as you aim your plasma pistol. Firing a single shot, you melt through the base of the jetcopter’s rotor blades. With nothing to keep it up in the air, the chopper plummets to the street below, crashing and burning on the asphalt.

To signal your victory, the game’s cheesy theme tune plays in the background.

[ You earned 500 points. ]

We beat the boss! I’m pretty sure that by this point we’ve also beaten our target of 2000 points. Are we going to have to resist the temptation to carry on further through the arcade game chasing an even higher score?

>Z
Time passes in the game.

The credits roll, and then it’s…

*** Game Over ***

Game Zone (on the superbike)
This air conditioned glass pyramid is where the Arcology’s citizens come to play. There are many games on offer, from the purely physical (squash courts, playing fields) to displays of skill (firing ranges, dancing mats). And then you’ve got your virtual reality machines, whole other worlds to conquer. Stunning visuals – you’re above the smog clouds, and can see the sky through the roof – but hardly tranquil with all the sounds of exertion and sound effects.

You’ve beaten your previous high score! When prompted, you enter your name. The score table reads:

LUCY SONG    --  3900
IVORY W RULZ --  3500
ALICE LING   --  2700
MTHR NATURE  --  2425
MEAGAN UFFAN --  1500

[Your score has just gone up by two points.]

Looks like that’s it, then. I guess we didn’t have the shooting skills to take out as many enemies as Ivory Worm or the mysterious Lucy Song on our way through. Not that it matters, because we’ve met our objective for getting in to see the casino boss.

>GET OFF
You get off the superbike.

Game Zone

The “Fastest Gun in the East” is the latest virtual reality import from Japan. You’d think a sleek, black motorcycle would be a crowd puller, but when other games let you control spaceships, time machines and plasma turrets, it’s not such a big deal.

>N

Transporter Ring

In case you get lost – a strong possibility in such a mammoth construction – information points are located every hundred metres.

>U
As you approach the access tunnel for level 29, a USF guard scans you with an electronic handheld device. After a series of beeps, an LED on the scanner turns green, and the trooper waves you through into the elevator tube. A short and exhilerating ride later, you arrive at your destination.

>S

Fame And Fortune

A female Hispanic attendant stands by the north entrance, keeping a close eye on the front door and the spiral stairs that lead up to the manager’s office.

So now can we just waltz on up?

>U
“You’ve impressed the boss,” the woman says. “And he’d like to see you personally. I’ll hold onto your things. Security precaution, non negotiable. Go on up.”

Casino Manager’s Office
The boss man likes to keep abreast (to put it one way) of what’s going on in the Fame and Fortune. Surveillance equipment – so well hidden you never saw it below – broadcasts live 3D holofeeds of game tables, patrons and employees. From behind his oak desk, the manager can see everything. Over half the concealed cameras are focused on females, whether they be attendants he’s hired or potential recruits.

The manager’s interest in you is strictly personal. If a spider grinned when it caught a fly, it’d look like him.

“Ah, the new girl,” he says. “I’ve been watching you closely. You’re tough, assertive. I like that in my employees. Scoring so highly on my favourite game tells me you’re a woman of action who’s got the moves. But who wants to play with virtual men? You’ve got fifteen minutes to impress me.”

[Your score has just gone up by two points.]

Man, really? We solved all those puzzles, blew up a helicopter, and our reward is fifteen minutes with an ultra-skeevy guy who wants us to “impress him”? What have we let ourselves in for?

9 Likes

You know, I can’t actually remember the last time I saw a “minigame” like that in parser IF. Choice-based, yes, but not parser-based.

1 Like

Depends exactly where you draw the line for what constitutes a mini-game, I think. Does the shooting gallery section in Never Gives Up Her Dead count?

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Part 26 - Fifty shades of inappropriate

Disclosure time: I turned to the hints pretty quickly during this next part, because exploring possible solutions to the puzzle that’s coming up was making me feel … icky. If you aren’t a fan of creepy, exploitative men or unbalanced power dynamics in sexual relationships, you might want to skip over this one and directly onto to the next update.

Anyway, we finally made it in to see the casino manager, who told us that we have fifteen minutes to “impress” him.

>X MANAGER
The manager’s wearing a white jacket, but his intentions are far from honourable. He’s been staring at your bodysuit from the second you arrived, acting out some twisted, sexual fantasy. If this guy is genuinely interested in hiring you, it’s only so he can add you to his holographic harem of dark skinned beauties. Conducting all business matters in cyberspace leaves him with twenty four hours free time to enjoy the show.

>FOCUS HIM
All right! All right! I won’t watch. Satisfied?

“Come on,” the manager baits you. “Give me some more action.”

This guy seems pretty loathsome, so hopefully we can “impress him” by beating on him.

>FIGHT MANAGER
To the manager this is a game, but you really do despise this guy. You attack with every technique at your disposal: punches, high kicks, wrestling throws, headbutts, ball busters. The casino boss remains standing through it all, seemingly enjoying every moment. Clearly, you’re not the first woman to do this to him.

Look out! Weirdo at twelve o’clock.

Oh, great, that’s what he wanted all along?

>PUSH MANAGER
You push the manager around. He seems to enjoy it.

“That all you got sweetie?”

>HIT MANAGER
You chop the casino manager on the neck, hoping to render him unconscious. He must have cybernetic impants to endure beatings, since your “knockout” blow has no effect.

Ugh. Okay, I have an unpleasant feeling that I know where this is going, so let’s just close our eyes and think of China:

>KISS MANAGER
The casino manager welcomes your advances, placing his arms around your bodysuit as you kiss him full on. Putting hatred to the rear of your mind, you keep up the act. Your “lover” massages your back and buries his head in your chest. Thankfully, the inability to remove your Utopian outfit spares you from further degradation at his wandering hands.

Ok, quite enough of that, thanks; can we push him off us again?

>PUSH MANAGER
You push the manager around. He seems to enjoy it.

“Come on,” the manager baits you. “Give me some more action.”

It doesn’t look like the manager is actually interested in giving us anything in exchange for … whatever this is, so if we want to get anything out of this encounter that we’ve worked so hard to get access to, we need to be on the lookout for something we can take for ourselves. There’s not a lot else mentioned in the room description.

>X DESK
The rib shaped centrepiece is built from fine, natural oak, very expensive and extremely hard to come by unless you’ve got corporate connections. Though quite happy to keep tabs on others, the manager is wary of prying Utopian eyes. There are no drawers or filing cabinets in his office, just a cross shaped interface port on the desk.

That interface port definitely isn’t just a background detail. We don’t have a cross-shaped cyberjack, although even if we did, we weren’t allowed to bring any of our possessions up here with us.

>FOCUS IT
The wood’s not black? Guess that rule only applies to his girls.

We definitely noticed while looking around the casino that the manager is only really interested in hiring non-white women, although referring to them all as “black” is erasing a heck of a lot of ethnic diversity. (And describing Chinese and Japanese women as black seems pretty weird coming from Nanci, who we’re still presuming is Chinese himself.)

>X PORT
A glorified, copper rimmed, cross shaped hole about a centimetre wide. Nothing more to say about it.

“That all you got sweetie?”

>FOCUS IT
That’s a cyberjack port, for hooking your brain up directly into C-space.

We know what it is, Nanci; any ideas about how we can get to it?

The only other prominent noun mentioned here is the manager’s jacket:

>X JACKET
These jackets go for thousands of credits in second hand auctions, and this one looks brand new. The fame and fortune manager’s not short of either.

>FOCUS IT
The white knight? I think not.

>ASK MANAGER ABOUT CASINO
The casino manager puts a finger to his lips. “I like action, not words.”

“All right, princess. You’re time’s up.”

The manager places his fingers in his mouth and whistles. A few seconds later, the Hispanic attendant shows up to escort you downstairs.

Fame And Fortune
Aptly named, for that’s what those who come to this casino seek. You may be the exception to the rule, but the other citizens are drawn to the west by the card tables, sports betting holobooths and fifty credits a go slot machines. Everything here revolves around money; those without capital have to make do with “free” game areas to the southwest, south and southeast, and a retro arcade booth on the east side.

A female Hispanic attendant stands by the north entrance, keeping a close eye on the front door and the spiral stairs that lead up to the manager’s office.

“Enjoy yourself?” she asks, returning your possessions. “Me, I kinda like pushing men around. If you want more action, come back tomorrow.”

So it looks like the manager shows … favour … to the women in his employ by letting them come up to his office and shove him around, but only for fifteen minutes a day?

We could sit around for another whole day in the casino, but we can also just restore our save and head back into the encounter for another go.

>FIGHT MANAGER
To the manager this is a game, but you really do despise this guy. You attack with every technique at your disposal: punches, high kicks, wrestling throws, headbutts, ball busters. The casino boss remains standing through it all, seemingly enjoying every moment. Clearly, you’re not the first woman to do this to him.

Look out! Weirdo at twelve o’clock.

>PUSH MANAGER
You push the manager around. He seems to enjoy it.

“Come on,” the manager baits you. “Give me some more action.”

We need to get to the desk so that we can access the cyberjack port, but also make sure the manager can’t see what we’re doing or stop us from doing it.

>PUSH MANAGER ONTO DESK
The manager puts up a fight, but in his weakened state he’s unable to stop you. He tumbles back onto his desk, struggling to get up.

He’ll get back off the desk in a minute unless we do something to prevent him, so:

>GET ON DESK
You climb onto the casino manager’s body, sitting on his waist. Far too weak to resist, you pin him in place.

“That all you got sweetie?”

And then, ugh, we need to distract him so that he won’t see what we pull off next.

>KISS MANAGER
The casino manager welcomes your advances, placing his arms around your bodysuit as you kiss him full on. Putting hatred to the rear of your mind, you keep up the act. Your “lover” massages your back and buries his head in your chest. Thankfully, the inability to remove your Utopian outfit spares you from further degradation at his wandering hands.

>SEARCH JACKET
Searching the manager’s jacket, you find a cross headed cyberjack. Discreetly, you remove it from his possession.

[Your score has just gone up by three points.]

>WEAR JACK
You slide the cross headed cyberjack onto one of your fingers.

“Come on,” the manager baits you. “Give me some more action.”

Now it’s time for some serious multi-tasking, because while carrying out our amorous encounter, we’re going to see if we can make this whole business worthwhile with some data exfiltration:

>PUT JACK IN PORT
You insert the cross headed cyberjack into the access port. An electrical tingle runs up your wrist, spreading all the way up your arm to your forehead. Everything blurs to pure, brilliant white, blinding you. When the light fades, you’re an avatar in cyberspace.

Treasure Room
An imaginary world, but the lavish tastes of the casino manager spread even here. The titanium walled vault is positively loaded with gold bullion, jewels the size of your fists and portraits of Asian sports stars. Rich in material, but sadly not in taste.

Since the cyberspace architect forgot to include a door, there’s little risk of the treasure chest being stolen.

Are playing cards valuable? Somebody thinks so – there’s a whole deck of them here.

[Your score has just gone up by two points.]

>X CARDS
A standard deck of playing cards with thirteen of each suit: clubs, diamonds, hearts and spades. Though you can’t see them without searching, you could find particular cards quite easily.

>TAKE CARDS
Taken.

>X CHEST
The classic pirate style: a wooden box with a hinged lid. Instead of a keyhole, there are two rectangular slots on the front.

>X SLOTS
The rectangular slots are empty.

The only things we know about the manager are that he’s a creep and he’s seriously into women of colour. And just in case our physical encounter hasn’t left us sufficiently in need of a shower, we’re now going to have to put ourselves in his shoes to think about which two cards from this pack he would choose as having special significance, which is—of course—the black women.

>FIND QUEEN OF SPADES IN CARDS
You find the queen of spades, and take it from the deck of cards.

>PUT IT IN SLOT
You place the queen of spades in one of the rectangular slots.

>FIND QUEEN OF CLUBS IN CARDS
You find the queen of clubs, and take it from the deck of cards.

>PUT IT IN SLOT
You place the queen of clubs in the other rectangular slot, and hear a click from the treasure chest.

>OPEN CHEST
You open the treasure chest, revealing a wealth of information.

For all that I find most of this section desperately uncomfortable, the fact that we’ve just discovered an object which is literally “a wealth of information” does tickle me.

>X INFORMATION
Files on the Fame and Fortune’s many patrons: spending habits, personal details, conversations. The casino is essentially one big Utopian spying operation, a research project with unaware citizens as guinea pigs.

[Your score has just gone up by four points.]

>READ IT
You’ve seen enough.

>TAKE IT
There’s too much information here to take with you.

Well, it’s not quite a smoking gun on the level of “Utopia is cultivating the Zavor virus”, but I guess this is the second thing that Zacharias wanted us to find. Hopefully, the “you’ve seen enough” message implies that having seen that the data trove exists, we don’t need to do anything more here to complete our goal.

>EXIT
You jack your avatar out of cyberspace and return to the real world.

Casino Manager’s Office (on the oak desk)
The boss man likes to keep abreast (to put it one way) of what’s going on in the Fame and Fortune. Surveillance equipment – so well hidden you never saw it below – broadcasts live 3D holofeeds of game tables, patrons and employees. From behind his oak desk, the manager can see everything. Over half the concealed cameras are focused on females, whether they be attendants he’s hired or potential recruits.

You’re embracing the casino manager. Head buried in your bodysuit, he pays little attention to what you’re doing.

We’ve got a couple of minutes on the clock, so let’s put everything back where we found it because I cannot wait to get out of here.

>REMOVE JACK
You remove the cross headed cyberjack from your finger.

>PUT JACK IN JACKET
You replace the cross headed cyberjack in the manager’s jacket.

“That all you got sweetie?”

>STAND UP
You climb off the oak desk. Tasting freedom again, the casino manager stands up.

And with the deed done, there’s nothing to compel us to stick around until the manager throws us out.

>D
“Had enough, darling? Maria will see you out. She’s merciless, that one.”

The manager places his fingers in his mouth and whistles. A few seconds later, the Hispanic attendant shows up to escort you downstairs.

Fame And Fortune
Aptly named, for that’s what those who come to this casino seek. You may be the exception to the rule, but the other citizens are drawn to the west by the card tables, sports betting holobooths and fifty credits a go slot machines. Everything here revolves around money; those without capital have to make do with “free” game areas to the southwest, south and southeast, and a retro arcade booth on the east side.

A female Hispanic attendant stands by the north entrance, keeping a close eye on the front door and the spiral stairs that lead up to the manager’s office.

“Enjoy yourself?” she asks, returning your possessions. “Me, I kinda like pushing men around. If you want more action, come back tomorrow.”

I very much hope we will not need to take her up on that one.

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Part 27 - Stick to the script

We’ve completed two out of the three goals assigned by Professor Zacharias, discovering the Zavor virus lab inside the biodome and the surveillance operation running out of the Fame and Fortune casino. There are three levels of the Arcology that we haven’t explored yet—the travel agent, Neo Wembley Stadium and Utopia Studios—so I was going to post an updated poll, but a quick bit of advance scouting reveals that we only really have one option at this point.

Most levels that are off-limits let us at least leave the transporter ring before we find the way barred, but trying to enter the stadium, we can’t even get that far:

>ENTER GATE 30
As you approach the access tunnel for level 30, a USF guard scans you with an electronic handheld device. After a series of beeps, an LED on the scanner turns green, and the trooper waves you through into the elevator tube. A short and exhilerating ride later, you arrive at your destination.

>S
A burly USF guard bars your path. “The stadium’s off limits to you, citizen. Ticketed spectators and athletes only.”

There’s a little more to explore in the travel agency on level 26:

>ENTER GATE 26
As you approach the access tunnel for level 26, a USF guard scans you with an electronic handheld device. After a series of beeps, an LED on the scanner turns green, and the trooper waves you through into the elevator tube. A short and exhilerating ride later, you arrive at your destination.

>S

Travel Agency
Utopia’s immigration policy is perfectly clear: once you set foot in the Arcology, you can never leave. Facilities here are wide and varied, but boredom and homesickness cannot be staved off forever. That’s where the travel agency comes in, providing virtual vacations to destinations on Earth and beyond. The sunken ruins of historic London, the colonies on Titan, a recreation of pre-Flood New York City – anyplace and anytime are available, provided you have enough credits to buy the ticket.

To make citizens feel they’re going on a real trip, Utopia provides first class shuttle seats. There’s a spare chair on your right.

Ticket verification is left in the capable (and electrified) hands of a conductor bot.

Okay, so this isn’t actually a travel agency so much as a virtual reality arcade, but unlike the virtual reality arcade we already visited, this one comes laced with a dose of denial about the fact that everyone here is a prisoner in the Arcology?

>X SEAT
When tourist vacation spots are all in cyberspace, travellers go nowhere in reality and no time elapses, thus beverage services, safety measures and in-flight entertainment are all surplus to requirements. First class seats, third class service, and most definitely economy class for Utopia Technologies.

>FOCUS IT
That’s right. Get on the couch, you crazy woman.

>SIT IN SEAT
The conductor bot floats in front of you, giving you a shock with its hands. “Ticket please,” it says.

>X CONDUCTOR
Conductor has a double meaning in this case: ticket inspector and electricity carrier. Floating by the entrance, the robot dispenses travel permits and checks credentials, as well as delivering nasty shocks to those who don’t pay.

Ok, so it’s a silly joke, but I laughed at the concept of an electrical conductor.

>FOCUS IT
No ticket!

>ASK CONDUCTOR FOR TICKET
You can’t see any such thing.

>ASK CONDUCTOR ABOUT TICKET
“Ticket please.”

>ASK CONDUCTOR ABOUT PERMIT
“Ticket please.”

This feels very much like somewhere we need to return to once we have a ticket, so in the meantime, let’s get on with what we’re actually meant to be doing, which is investigating Utopia Studios.

>N

Transporter Ring

In case you get lost – a strong possibility in such a mammoth construction – information points are located every hundred metres.

>ENTER GATE 27
As you approach the access tunnel for level 27, a USF guard scans you with an electronic handheld device. After a series of beeps, an LED on the scanner turns green, and the trooper waves you through into the elevator tube. A short and exhilerating ride later, you arrive at your destination.

>S

Utopia Studios
The show goes on. Half a century after the Great Flood transformed the Hollywood hills into mosquito infested swampland, Utopia Studios is the planet’s new movie capital. With ten times the glitz, glamour and propoganda, this spiritual successor to Tinseltown is where the company’s fiction gets produced: holovids, the hit USF procedural Level 33 and UTN news reports to name a few.

There’s a recruitment drive on, and the studio gates to the south are open.

>X GATES
This is it! Your chance for ten minutes of fame.

>FOCUS THEM
Everyone’s a movie star. That’s what they tell you.

Doesn’t look like there’s anything to really do in this area, so let’s go and look for our fifteen minutes of fame.

>S
A B-vid producer is waiting for you beyond the gates. Formal ID isn’t necessary; you can tell what his job is from the dark sunglasses, Utopia Studios cap and T-shirt promoting his latest cinematic catastr-- er, masterpiece. “You’re just what I’m looking for,” he says. “Your big break’s come, lady. When Alice Wei Ling’s this huge holovid star, everyone will say that I, Jerome Flint, was the man who started it all.”

Having finished pretending he cares, Jerome hands you over to an assistant. She leads you through the studio lots to your assigned…

Dressing Room
Calling this a room is generous. While holovid celebrities have entourages and makeup bots to tend to their every need, last minute stand ins (the category you belong to) get a featureless plastic cubicle with nowhere to sit down, no mirror to practice with, and no privacy from the stressed out film crews that sprint past the eastern doorway.

A Chinese military uniform hangs on a hook – this must be your costume.

They’ve given you a plasma pistol! At last you’ve got a weap-- no, wait. That’s a holopistol. It’s got the looks but “shoots” harmless projected images.

Don’t expect too much help from the producer’s assistant. She hands you a shooting script, tells you that you’re playing Chinese Soldier #143 and to get ready in ten minutes, and then she runs off.

Movies. I gotta disagree. They do make 'em like they used to. Word of warning: this may be a cheap production, but movie producers aren’t the forgiving type. You’ll only get one shot at this, so make it count.

I’ve generally edited saves and restores out of the transcript, but Nanci is giving us a pretty big (and much-appreciated) hint here that this next section isn’t one where we can afford to screw up, so we do in fact save here, which (spoiler) will shortly turn out to be just as well.

>X UNIFORM
The costume and research departments have done their jobs thoroughly. This is an authentic uniform from the People’s Republic of China, very similar to your own (real) military dress but for low ranking soldiers.

>FOCUS IT
Alice Wei Ling the Chinese soldier. Fancy that.

>WEAR IT
(first taking the Chinese military uniform)
You wear the Chinese military uniform over your bodysuit.

>TAKE PISTOL
Taken.

Ok, we’ve got our stuff, what are we doing in this movie anyway?

>READ SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

“You ready, woman? Hurry up in there!”

Well, let’s see how it starts off, at least; maybe we can wing the rest?

>READ PAGE 1
I only understood you as far as wanting to read the shooting script.

>FOCUS SCRIPT
Sounds real promising eh?

>READ PAGE
There are over a hundred pages to read! You’ll need to narrow it down.

Uh oh.

>READ
What do you want to read?

>SCRIPT
Transcripting is already on.

>READ SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

Maybe we should just give up on the script. Alice really is a Chinese soldier, so we can probably method-act our way through this, right?

>X PISTOL
A plastic replica of a plasma pistol for use in holovids and theatrical productions. Post production of weapon effects is no longer required. With an inbuilt holographic datacube, this gun projects moving images of hot gas bolts. Completely harmless, unfortunately for you.

>FOCUS IT
Careful! You could do some fake damage with that.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “I need my people working to a tight schedule. Get her off the set and find someone else.”

In the absence of directors (there is only one in the Arcology), movie producers call the shots. USF troopers escort you back to the transporter ring. Few people get inside Utopia Studios, and you will never do so again. This was your only opportunity, and you squandered it. Whatever’s going on behind the scenes will remain undiscovered.

*** You have failed ***

In that game you scored 260 out of a possible 400, in 2228 turns, and attained the rank of accomplished spy.

Would you like to RESTART, RESTORE a saved game, UNDO your last move, give the FULL score for that game or QUIT?

I’m fairly sure that it is actually possible to get this game into an unwinnable state, but it’s nice that the game is upfront enough to give us an explicit “game over” here. Although given that we seemed to be entitled to a limitless number of attempts to please Luigi and the casino manager, I’m curious whether there’s a reason for the movie studio to be different.

Anyway, we restore back to the moment we entered the dressing room, resolved not to waste so much time this time:

>WEAR COSTUME
(first taking the Chinese military uniform)
You wear the Chinese military uniform over your bodysuit.

>E
You make it two centimetres outside the doorway before an assistant looks you over. “You gonna walk on set with a script? What kind of actress are you? Learn your lines, woman.”

Okay, we can do that.

>LEARN SCRIPT
That’s not a verb I recognise.

Oh, maybe it’s not that easy.

>OPEN SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

>READ FIRST SCENE
You can’t see any such thing.

>READ FIRST PAGE
You can’t see any such thing.

We’ve ended up in one of those guess-the-verb nightmare scenarios that people who don’t play parser games think of as happening all the time: there’s a totally obvious thing that we want to do (just read something in the script) and we can’t find a command that will convince the parser to let us do it.

>X SCRIPT
There have been great advances in electronic technology. Movies have gone from silent black and whites to full 3D holovids. Los Angeles has sunk under the waves. Yet movie producers still insist on working with paper scripts, properly formatted on US Letter sized paper and bound with three brads. The script is titled ZAVOR’S REVENGE III: THE COLOMBIANS LIVE.

I don’t actually know what brads are, but maybe they’re important for reading the script somehow?

>X BRADS
You can’t see any such thing.

Well, it was a long shot.

>READ SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

“You ready, woman? Hurry up in there!”

Okay, we still can’t read the script, and last time we weren’t allowed to walk out of the dressing room holding it, but we don’t want to hang around for so long that we get fired again, so let’s just go for it.

>DROP SCRIPT
Dropped.

>E
You make it two centimetres outside the doorway before an assistant looks you over. “What’s that?” she asks, pointing at the gaming licence. “Leave your stuff in there!”

>DROP ALL BUT PISTOL
gaming licence: Dropped.

I think we accidentally left everything else behind in the casino when we went swimming, so we’d better make sure we go back for it later.

>E
You make it two centimetres outside the doorway before an assistant looks you over. “Those holopistols don’t come cheap! Go back and get it.”

>TAKE PISTOL
Taken.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “I need my people working to a tight schedule. Get her off the set and find someone else.”

So we failed again, this time because we couldn’t get the right combination of things in and not-in our hands to be allowed onto the set. But forewarned is forearmed, so surely the next attempt will be successful?

>WEAR COSTUME
(first taking the Chinese military uniform)
You wear the Chinese military uniform over your bodysuit.

>TAKE PISTOL
Taken.

>DROP SCRIPT
Dropped.

>E
You make it two centimetres outside the doorway before an assistant looks you over. “What’s that?” she asks, pointing at the gaming licence. “Leave your stuff in there!”

Okay, we almost got it right.

>DROP LICENSE
Dropped.

“You ready, woman? Hurry up in there!”

>E
You make it two centimetres outside the doorway before an assistant looks you over. “All right,” she says. “You’ll do. Follow me.”

Escorted by two USF thugs, she leads you to the shooting set.

Scorched Forest
Columbia post invasion by the Eastern-Western Alliance, or at least it’s supposed to be. The holovid producer’s vision is apocalyptic and black. Wet mud, charred tree stumps, fallen soldiers, nighttime sky – the entire landscape is bereft of colour. Sound crews insert effects in real time: plasma fire, agonised screams, and moans from the walking dead.

That’s right! Walking dead! The other women in your squad – and they all seem to be Asian females – are under attack by a horde of zombies. They come from all directions, mouths open and ready to feed on human flesh. Actually, they’re robots in makeup, but they do look creepy in those masks.

“And… action!” yells the producer from an unseen vantage point.

The carnage commences. Women shoot their holopistols, body parts fly, zombies advance through the lingering mist. It’s all happening, and you’re right in the middle of it. Time to put on the performance of your life if you don’t want your new career cut short.

Who needs a script when it’s so obvious what we’re meant to do in this scene?

>SHOOT ZOMBIES
(with the holopistol)
You kneel down, blasting the zombies with your holopistol. The robots have photosensitive skin, and their metal bodies react to the holograms. Preplaced explosives detonate. An arm falls off one, a leg off another, and your third shot burns a creature in half.

You’re amazing! Bet the producer can’t believe his luck.

Well, this is going well, why stop now?

>SHOOT ZOMBIES
(with the holopistol)
You blast some more zombies, quite enjoying the havoc you cause.

“CUT!”

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “One page, and she can’t remember her lines. Get her off the set and find someone else.”

Drat. I guess we really did need to read the script after all. Restoring back to the dressing room, we embark on a torrent of verb-guessing:

>READ SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

>READ PAGE
There are over a hundred pages to read! You’ll need to narrow it down.

>READ 1
(the shooting script)
There are over a hundred pages to read! You’ll need to narrow it down.

>READ LINE
You can’t see any such thing.

>READ FIRST PAGE
You can’t see any such thing.

>READ PAGE 1
I only understood you as far as wanting to read the shooting script.

>TURN PAGE
There are over a hundred pages to read! You’ll need to narrow it down.

>OPEN PAGE
There are over a hundred pages to read! You’ll need to narrow it down.

“You ready, woman? Hurry up in there!”

>X SCRIPT
There have been great advances in electronic technology. Movies have gone from silent black and whites to full 3D holovids. Los Angeles has sunk under the waves. Yet movie producers still insist on working with paper scripts, properly formatted on US Letter sized paper and bound with three brads. The script is titled ZAVOR’S REVENGE III: THE COLOMBIANS LIVE.

>UNBIND SCRIPT
That’s not a verb I recognise.

>TEAR SCRIPT
That’s not a verb I recognise.

>BREAK SCRIPT
Tearing up a script is the producer’s job.

>TURN SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

>FOCUS SCRIPT
Sounds real promising eh?

>READ PAPER
You can’t see any such thing.

Let’s just check there isn’t anything else in the location we’ve missed being able to interact with:

>TAKE ALL
Chinese military uniform: Taken.
holopistol: Taken.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “I need my people working to a tight schedule. Get her off the set and find someone else.”

And another attempt ends in failure. We restore again and check once more what we’ve got to work with.

>I
You are carrying:
 a shooting script
 a gaming licence
 a hi-tech digital wristwatch (being worn)
 a Utopia Technologies bodysuit (being worn)

>READ SHOOTING SCRIPT
There are over a hundred pages to read! You’ll need to narrow it down.

Okay, think, think … we were given the name (well, the description at least) of the character we’re playing, can we do anything with that information?

>LOOK UP SOLDIER 143 IN SCRIPT
Ah, here are you lines – all one of them, though you get to do your own stunts.

Chinese Soldier #143 shoots the horde of
zombies. Three fall. Tragedy strikes --
#143's weapon jams. She hurls it at the
nearest zombie in desperation.

             CHINESE SOLDIER #143 
        I'm out. 

Soldier #144 throws #143 a weapon, seconds
before the zombies maul her to death.
Surrounded by zombies, #143 is trapped!

#143 jumps onto a zombie, leaps into the
air, grabs the gun, and blasts off his
head.

Unseen, a zombie rises from a hole and
bites #143's leg. She snaps the creature's
neck, but it is too late. #143 screams and
falls into the hole, dead.

There are worse ways to go, you suppose.

[Your score has just gone up by two points.]

Now we’re cooking!

>WEAR UNIFORM
(first taking the Chinese military uniform)
You wear the Chinese military uniform over your bodysuit.

It occurs to me to wonder how Utopian film stars ever play roles that require them not to be wearing their unremovable bodysuits. Maybe they wear a skinsuit over the top?

>TAKE PISTOL
Taken.

“You ready, woman? Hurry up in there!”

>DROP LICENSE
Dropped.

>E
You make it two centimetres outside the doorway before an assistant looks you over. “You gonna walk on set with a script? What kind of actress are you? Learn your lines, woman.”

Alright, alright …

>DROP SCRIPT
Dropped.

>E
You make it two centimetres outside the doorway before an assistant looks you over. “All right,” she says. “You’ll do. Follow me.”

Escorted by two USF thugs, she leads you to the shooting set.

Scorched Forest
Columbia post invasion by the Eastern-Western Alliance, or at least it’s supposed to be. The holovid producer’s vision is apocalyptic and black. Wet mud, charred tree stumps, fallen soldiers, nighttime sky – the entire landscape is bereft of colour. Sound crews insert effects in real time: plasma fire, agonised screams, and moans from the walking dead.

That’s right! Walking dead! The other women in your squad – and they all seem to be Asian females – are under attack by a horde of zombies. They come from all directions, mouths open and ready to feed on human flesh. Actually, they’re robots in makeup, but they do look creepy in those masks.

“And… action!” yells the producer from an unseen vantage point.

The carnage commences. Women shoot their holopistols, body parts fly, zombies advance through the lingering mist. It’s all happening, and you’re right in the middle of it. Time to put on the performance of your life if you don’t want your new career cut short.

>SHOOT ZOMBIES
(with the holopistol)
You kneel down, blasting the zombies with your holopistol. The robots have photosensitive skin, and their metal bodies react to the holograms. Preplaced explosives detonate. An arm falls off one, a leg off another, and your third shot burns a creature in half. Remembering your gun is supposed to jam, you feign trouble. Now, what were you supposed to do next?

You’re amazing! Bet the producer can’t believe his luck.

Time to deliver our one line …

>SAY I’M OUT
(to the female soldiers)
Your voice carries across the battlefield.

“CUT!”

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “One page, and she can’t remember her lines. Get her off the set and find someone else.”

Wait, that was our line, though, right? Oh, no … we need to throw the pistol at the zombies, then say the line.

> UNDO
Scorched Forest
[Previous turn undone.]

>THROW PISTOL AT ZOMBIES
You hurl the holopistol at the closest zombie. The creature nearest you catches it, breaks it into tiny pieces, and continues to advance.

>SAY I’M OUT
(to the female soldiers)
“I’m out!” you scream. One of the soldiers tosses you her weapon. In doing so, she leaves herself exposed to attack. Zombies overrun her, biting through her uniform. Blood sprays from the wounds, so realistic you wonder if the girl’s acting or dying. She had some throwing arm – the holopistol’s a good few metres high. Sensing victory, the zombies close in.

I sense that we’re going into slow-motion for this sequence …

>JUMP ON ZOMBIE
Grabbing the nearest zombie’s neck, you use it as leverage to leap off the ground and mount the creature’s shoulders. Your undead enemy is powerful but slow, and you easily dodge its retaliatory bite.

With your added height advantage, reaching the gun is possible, but it’s still a little high.

The gun, of course, is still arcing gracefully through the air.

>JUMP
Bending your knees, you leap off the zombie’s shoulders. The holopistol passes in front of you.

>TAKE GUN
Leaning backwards, you spin your feet and knock the holopistol up into your waiting hands. Completing a full revolution, you come back down to earth with a perfect landing. Zombies, say hello to Alice Wei Ling – rearmed and dangerous.

Say! Have you done this before?

Since we’re acting out exactly what it says in the script, playing that sequence out in slow-motion like that feels totally natural … but I do note that our trusty wristwatch shows time advancing at the standard rate of one minute per turn, meaning that the gun was flying through the air for three whole minutes.

Anyway, back to the action!

>SHOOT ZOMBIES
(with the holopistol)
Doing your best badass impression, you smile and blow the zombie’s head off at close range. Artifical blood shoots from its exposed neck, turning the soil deep red. Rotting hands grab your leg from behind. A creature, rising from a hole you hadn’t noticed, bites you in the leg. Ouch! You felt that through your bodysuit. These zombiebots have quite a bite.

Those dead punks! They don’t know who they’re messing with. Show them!

We’ve almost made it through our scene—next, we’re meant to take out the zombie that just bit us:

>SHOOT ZOMBIE
(the crawling zombie with the holopistol)
You shoot the crawling zombie in the chest. Nothing happens – his circuitry must be faulty.

“CUT!”

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “One page, and she can’t remember her lines. Get her off the set and find someone else.”

Oh, oops, I got carried away. We do take out the zombie that just bit us, but by breaking its neck, not by shooting it:

> UNDO
Scorched Forest
[Previous turn undone.]

>BREAK NECK
You stamp down on the crawling creature’s neck. It’s a heavy blow that twists the head through forty five degrees. The robot drops flat, weight dragging it back down into the hole. The thing even made a realistic bone snapping noise when you delivered the killing blow. If there were robot Oscars, this not so cute droid would win one.

>FALL IN HOLE
You climb down into the muddy hole.

“CUT!”

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “One page, and she can’t remember her lines. Get her off the set and find someone else.”

The game’s description of us climbing (rather than falling) down into the hole makes me wonder if “FALL IN HOLE” was the right command to use, but reviewing the script, I see that the more glaring omission is that we skipped our dying scream:

> UNDO
Scorched Forest
[Previous turn undone.]

>SCREAM
Changing character from tough action babe to scream queen in a heartbeat, you open your eyes wide, act terrified, and wail as loud as you possibly can.

>JUMP IN HOLE
Dramatically, you fall backwards into the muddy hole.

Scorched Forest (in the muddy hole)
Mud, earth, dirt, soil – call it what you will, but you’re lying in it. The ground is soft and wet, squelching under your body weight. To someone who’s seen the Colombian trenches this is a small hole indeed, but you’re grateful for its existence. You can’t see the soldiers, robots or cameras, but that also means they can’t see you.

You’re sharing the mudpit with a “dead” zombie.

Congratulations. You’re out of camera shot. Bet you’re real impressed with yourself, aren’t you? You realise you’ve only gotten so far because I’ve helped you. Think you’re so good? Try solving this on your own.

[Your score has just gone up by five points.]

Uh, Nanci, what the heck? Did we do something to upset you? Because firstly, I can’t think what on earth that could be, and secondly, all you added to our performance there was low-effort cheerleading. Given that you saw the script too and you presumably have some kind of equipment recording everything that our fancy in-body surveillance suite is sending back to you, you probably could have made things easier for us if you’d walked us through the scene. But you get so excited at seeing us in a fight that you didn’t actually think to help us in the least.

Join us next time to investigate both (1) what we’re meant to do in this hole and also (2) why our handler seems to have suddenly got his nose all out of joint!

6 Likes

I don’t know what to say about the casino manager section except…eugh. I see what the author was going for, but it doesn’t seem like a satisfying enough puzzle to be worth that—I think if I were writing this (and not scrapping that bit entirely), I’d make the puzzle be distracting him long enough to knock him out (maybe deactivating some of his cybernetics?), then borrowing the cyberjack while he’s unconscious.

These thingies:

Like staples, but they can hold more pages at once. You punch a hole in your script, push the legs through, then fold them out to hold it in place.

All being women seems more notable than all being Asian, given that it’s supposed to be the Chinese army, right?

Aghhhhhh.

Holographic skin! :smiley:

Hey, checking your wristwatch wasn’t in the script!

This whole sequence feels a bit odd to me—weirdly abrupt in how it begins (instead of e.g. seeing an advertisement recruiting female Asian extras and choosing to pursue it), only giving you one try when the framing makes perfect sense to repeat (multiple takes of the scene), and the only puzzle really being a literal “guess the verb”.

5 Likes

Well I need a shower, and I’m not talking about the mud-pit.

I keep getting hung up on how the manager getting gratification from seeing heavily-racially-identified women work their way through the contrived puzzle-based scenarios he constructs draws attention to the way the game’s author has constructed contrived puzzle-based scenarios for a heavily-racially-identified woman to work through, and sort of forces the player to assume there’s a a gratification element involved. Not that there was much question of that, I suppose, but I’m deeply confused about the decision to highlight it so obviously.

EDIT: scooped by Daniel on the brads. Funnily enough, the little holes the brads punch out of the paper would I think be chads :slight_smile:

5 Likes

Now I’m imagining Andy Phillips in some hypothetical far-future interview being ambushed with the question “what do you think of the people who see the casino manager in Inside Woman as an author avatar?” and being totally floored.

I’ve always called those things “split-pins”. I would say “in the UK, we call them …” but the fact that Andy Phillips calls them brads kind of puts the lie to that one.

2 Likes

Part 28 - Springing the trap

To recap, we spent a lot of time trying to get our walk-in part in a zombie movie right in order to be allowed to fall into a hole, which we’ve now done. Hopefully there’s something here that makes all that effort worth it. Also, Nanci got really mad with us for no reason and tried to claim credit for everything we’ve accomplished since we arrived in the Arcology.

Scorched Forest (in the muddy hole)
Mud, earth, dirt, soil – call it what you will, but you’re lying in it. The ground is soft and wet, squelching under your body weight. To someone who’s seen the Colombian trenches this is a small hole indeed, but you’re grateful for its existence. You can’t see the soldiers, robots or cameras, but that also means they can’t see you.

You’re sharing the mudpit with a “dead” zombie.

The zombie seems like the primary feature here, so let’s check it out.

>X ZOMBIE
Now you’re not in such a pressure situation, you take a closer look at the “dead” zombie. It’s wearing a Colombian military uniform, though you wouldn’t know for all the mud smothering it. Its head is twisted at an odd angle. Seen up close, the zombie’s face is clearly a rubber mask.

A rubber mask? Are we going to pull the mask off and discover that the robot zombies are really—gasp—human beings?

>X MASK
This grotesque rubber mask is a triumph for old school makeup, proving it doesn’t take computer effects to create scary zombies. A mixture of synthentic flesh, blood and exposed brain parts, this could put the frighteners on anyone. Well, almost anyone.

The battle’s still going on up there.

>TAKE MASK
The mask is stuck to the zombie’s body, and won’t come free.

Come on, you can’t tell me we’re supposed to see this mask and not pull it off?

>PULL MASK
Nothing obvious happens.

>LOOK UNDER MASK
You find nothing of interest.

The screams are getting fewer – sounds like the zombies are winning.

Ok, can we find anything else to interact with?

>SEARCH ZOMBIE
You find nothing to help you.

>LOOK UNDER ZOMBIE
More dirt.

>FOCUS ZOMBIE
No response. You suspect Nanci has nothing to say about the “dead” zombie.

>FOCUS MASK
No response. You suspect Nanci has nothing to say about the rubber mask.

I think Nanci’s still in a snit with us.

Sounds quiet, like the battle’s nearly over. Whatever you’re planning, you don’t have much time left.

>X DIRT
The hole’s been dug in the soft, wet mud that doubles as the movie set’s floor. You hope it’s not your grave.

>DIG DIRT
Soft mud falls through your fingertips.

Ok, this isn’t going anywhere; it sounds like the battle up above is wrapping up, so maybe we should check that we’re not missing anything up there?

>OUT
You get out of the muddy hole.

Scorched Forest

That’s right! Walking dead! The other women in your squad – and they all seem to be Asian females – are under attack by a horde of zombies. They come from all directions, mouths open and ready to feed on human flesh. Actually, they’re robots in makeup, but they do look creepy in those masks.

“CUT!”

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. "Stupid girl doesn’t know when to stay dead. Get her off the set and find someone else.”

This is followed by the same ending text we got repeatedly in the previous section, in which we are told that we blew our one chance to get inside Utopia Studios, ending with the *** You have failed *** message. If we stay in the hole instead …

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover you lying inside with the zombie.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “She’s so good at this we’ll never afford her. Get her off the set and find someone else.”

Just in case we thought actually co-operating with the filming of the movie might be the solution, we also get fired for doing everything right. We restore back to the point where we first fell into the hole and explore our options some more:

>X ZOMBIE
Now you’re not in such a pressure situation, you take a closer look at the “dead” zombie. It’s wearing a Colombian military uniform, though you wouldn’t know for all the mud smothering it. Its head is twisted at an odd angle. Seen up close, the zombie’s face is clearly a rubber mask.

>X UNIFORM
(the Chinese military uniform)
The costume and research departments have done their jobs thoroughly. This is an authentic uniform from the People’s Republic of China, very similar to your own (real) military dress but for low ranking soldiers.

That’s our own uniform, we wanted the zombie’s one.

>X COLUMBIAN UNIFORM
You can’t see any such thing.

Huh. Well, the description of the zombie mentioned the angle of its head as well as the rubber mask:

>X HEAD
The robot’s face is covered in damp mud. The poor zombie can’t see a thing.

The battle’s still going on up there.

>WIPE HEAD
You take the zombie’s head and rub it with your sleeve. A good proportion of the dirt comes off, exposing the mask – and more importantly – the robot’s light sensitive eyes.

The game could have helped us out a little more here by mentioning the mud when we looked at the mask as well as when we looked at the head, but no harm done, as we’re now reminded that the robot zombies have circuitry in their eyes which makes their heads explode when shot with a holopistol.

>SHOOT EYES
(with the holopistol)
Aiming directly at the crawling zombie’s head, you let rip with a holographic plasma bolt. It makes a big flash, and falls off the body. Blood sprays from the robot’s severed neck, draining away into the soil.

The screams are getting fewer – sounds like the zombies are winning.

>X NECK
Thanks to your cleaning, the robot’s photosenstive eyes are free of dirt.

I think that’s being treated as just examining the head again. Have we found anything interesting inside the robot now we’ve blown its head off?

>X BLOOD
You can’t see any such thing.

>TAKE HEAD
Taken.

>X IT
Thanks to your cleaning, the robot’s photosenstive eyes are free of dirt.

>WEAR IT
You can’t wear that!

Sounds quiet, like the battle’s nearly over. Whatever you’re planning, you don’t have much time left.

>LOOK INSIDE IT
You find nothing of interest.

>FOCUS IT
No response. You suspect Nanci has nothing to say about the zombie’s head.

We’ve done a lot of work here to obtain this robot zombie head, but it doesn’t seem to actually be good for much.

>X BODY
You can’t see any such thing.

>X ZOMBIE
Now you’re not in such a pressure situation, you take a closer look at the headless zombie. It’s wearing a Colombian military uniform, though you wouldn’t know for all the mud smothering it.

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover you with the zombie’s head.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “Look at the mess she’s made of that robot. Get her off the set and find someone else.”

And time runs out, leaving us with another failure. Rewinding to the beginning once again:

>X ZOMBIE
Now you’re not in such a pressure situation, you take a closer look at the “dead” zombie. It’s wearing a Colombian military uniform, though you wouldn’t know for all the mud smothering it. Its head is twisted at an odd angle. Seen up close, the zombie’s face is clearly a rubber mask.

>TAKE MASK
The mask is stuck to the zombie’s body, and won’t come free.

Oh, hang on. We were foiled in our attempt to take the mask before because it’s (somehow) attached to the zombie’s body (instead of, or in addition to, its head). But since we’ve now figured out how to detach the head from the body …

>WIPE HEAD
You take the zombie’s head and rub it with your sleeve. A good proportion of the dirt comes off, exposing the mask – and more importantly – the robot’s light sensitive eyes.

The battle’s still going on up there.

>SHOOT EYES
(with the holopistol)
Aiming directly at the crawling zombie’s head, you let rip with a holographic plasma bolt. It makes a big flash, and falls off the body. Blood sprays from the robot’s severed neck, draining away into the soil.

>TAKE MASK
You peel the rubber mask off the zombie’s head.

[Your score has just gone up by three points.]

Now I think we’re getting somewhere! And what else does one do with a mask but:

>WEAR MASK
You place the rotten flesh mask over your head, adjusting it so you can see clearly through the eye slits.

The screams are getting fewer – sounds like the zombies are winning.

So what happens if we wait here in our zombie disguise until filming is over?

>Z
Time passes.

>Z
Time passes.

>Z
Time passes.

>Z
Time passes.

Sounds quiet, like the battle’s nearly over. Whatever you’re planning, you don’t have much time left.

>Z
Time passes.

>Z
Time passes.

>Z
Time passes.

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover what they think are two zombies until they see your uniform.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “Look at the mess she’s made of that robot. Get her off the set and find someone else.”

Ok, well, we can try again, but remove the uniform this time. After restoring:

>WIPE HEAD. SHOOT EYES. TAKE MASK
You take the zombie’s head and rub it with your sleeve. A good proportion of the dirt comes off, exposing the mask – and more importantly – the robot’s light sensitive eyes.
I didn’t understand that sentence.

There’s something slightly funky about this game’s handling of multiple commands on a single line, so trying to save time doesn’t work here.

>TAKE MASK
The mask is stuck to the zombie’s body, and won’t come free.

>SHOOT EYES
(with the holopistol)
Aiming directly at the crawling zombie’s head, you let rip with a holographic plasma bolt. It makes a big flash, and falls off the body. Blood sprays from the robot’s severed neck, draining away into the soil.

The battle’s still going on up there.

>TAKE MASK
You peel the rubber mask off the zombie’s head.

[Your score has just gone up by three points.]

>REMOVE UNIFORM
(the Chinese military uniform)
You take off the Chinese military uniform.

>DROP UNIFORM
(the Chinese military uniform)
Wonderful! Now the Chinese uniform’s absolutely covered with soggy, black mud.

The screams are getting fewer – sounds like the zombies are winning.

[Your score has just gone up by two points.]

And then we wait, until:

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover you with the zombie’s head.

You hear the movie producer shouting. “Tell that Chinese woman she’s fired,” he says, forgetting your name as quickly as he learned it. “Look at the mess she’s made of that robot. Get her off the set and find someone else.”

I couldn’t quite figure out how we ended up holding the zombie’s head in this situation; I’d assumed that it must be something to do with that misparsed multiple command, but then I realised that the problem is that we forgot to put the mask on, and “found with the zombie’s head” is just the message you get if you remove the head but don’t figure out anything else to do. Anyway, we try the whole thing again, making sure to remove our uniform and put on the mask:

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover what they think are two zombies until they see your bodysuit.

So that’s no good either, but we note the message we get about the uniform getting covered with mud when we drop it, so if we do that and then put it back on again:

You wear the dirty military uniform over your bodysuit.

>Z
Time passes.

Et cetera.

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover what they think are two zombies until they see you holding the holopistol.

Always … one … more … thing …

> UNDO
Scorched Forest
[Previous turn undone.]

>DROP PISTOL
Dropped.

“And… Cut!” says the producer. “That’s a wrap!”

There is chatter and movement above as the set is cleared. After a few minutes, two of the film crew come to check on the hole. They discover what they think are two zombies and lift them (you and the real one) out. You hear the producer shout instructions.

“When you find that Chinese woman,” he says," tell her she’s fired. Don’t know where she learned those moves, but she’s way too good. And that means credits we can’t afford."

A thick muscled crewman carries your body to a backstage area, and deposits you on a shelf with a bunch of spare parts. Such concern.

Prop Room (on the storage shelves)
Shame you’re not a holovid buff. You’re surrounded by shelfloads of famous props from classic (and a few not so classic) films, including the 2060s cab from Hovertaxi Driver, Claws’ great white eagle, and the crown jewels of Denario from that heist movie whose title eludes you. Plenty of world building materials around – in the hands of a skillful producer, the possiblities are infinite.

Hovertaxi Driver is presumably a shout-out to Taxi Driver, and this world has a movie called Claws about an eagle rather than a movie called Jaws about a shark. Anyone place the heist movie reference?

The steel door doesn’t have a handle on this side. Looks like the crewman unintentionally locked you in.

Got you! Like the famous Mister Bond, you’ve been a little too clever, and now you are caught! Look at you, sat with the puppets. How fitting. You were only ever a character, Alice – a work of fiction acting out the wishes of the Director. What’s this I sense? Confusion? The answer to this locked room mystery’s over there, in the black box.

Uh, our mission control is back and monologuing like a supervillain, is this a problem?

Black box? What black box? Oh, there it is, among the props from Shanghai Spy.

[Your score has just gone up by two points.]

Are we meant to be looking at the black box? I’m pretty sure we’re meant to be looking at the black box, but let’s make sure this other stuff is irrelevant first.

>X HOVERTAXI
That’s not important to your mission.

>X EAGLE
That’s not important to your mission.

>X CROWN JEWELS
That’s not important to your mission.

Ok, so, the black box:

>X BLACK BOX
Now that shouldn’t be here. There’s a black plastic box stored with the props, a holorecording device with a hexagonal shaped interface port on top.

>FOCUS IT
It’s a record of the past. Why not have a look see?

Since we left all our stuff in the casino, and the one thing we remembered to bring with us we were made to leave behind in the dressing room anyway, I’m pretty sure we’re not carrying a hexagonal cyberjack that we just happened to forget about … maybe the box just opens?

>OPEN IT
Attempting to break open the box yields no reward.

>I
You are carrying:
 a dirty military uniform (being worn)
 a rubber mask (being worn)
 a hi-tech digital wristwatch (being worn)
 a Utopia Technologies bodysuit (being worn)

Ok, well, maybe there’s a cyberjack lying somewhere nearby?

>LOOK UNDER BOX
You find nothing of interest.

>SEARCH SHELVES
Amongst the movie props you see a black box, yourself and a hexagonal headed cyberjack.

Bingo!

>TAKE JACK
Taken.

[Your score has just gone up by three points.]

>WEAR IT
You slide the hexagonal headed cyberjack onto one of your fingers.

>PUT JACK IN PORT
You insert the hexagonal headed cyberjack into the access port. An electrical tingle runs up your wrist, spreading all the way up your arm to your forehead. Someone steps up behind you, placing a shiny gauntlet on your shoulder.

“So obviously a trap,” says Nanci in person, gripping your hand before you can remove the cyberjack. “Yet you were reckless enough to spring it anyway. I knew you would. In fact, I’ve gotten to know you very well, Colonel. But then, I was the one who designed you. You were doing great, rooting out the resistance for us. Your search for those phantom scientists unearthed a few rotten apples. The forger, the woman in the Waterline Club, Zacharias. But you involved yourself in business that didn’t concern you. That was a mistake.”

You turn to look at Nanci’s face. She – and yes, she’s a woman, no longer disguising her voice – is a Utopian executive. White light spreads from the ivory worm choker around her neck, enveloping you. When it fades, you find yourself back where it all started.

Nanci is Ivory Worm?

Nanci is Ivory Worm!

Holy crap, what?

Briefing Room
Corporate executives usually have expensive tastes and your boss is no different. His downtown Hong Kong office is a classy mixture of styles, ancient Oriental blended with ultra modern. Since his company owns a majority stake in the Chinese military, it’s no surprise to see terracota soldiers flanking the holographic projector, nor is it a great shocker – excuse the bad pun – that the Tesla cannons are fully charged and crackling with electrical energy.

The extreme security measures in place aren’t enough to convince the General to appear in person. He addresses you from an unknown location on the mainland, conducting all business via a video screen.

An image appears above the projector disc: a spinning globe. Yep, it’s Planet Earth post catastrophe number one thousand. Or something – you lost count years ago.

Just in case anyone’s forgotten it, this is the mission briefing scene from the very beginning of the game.

>X GENERAL
General’s more of an honorary title than an official military rank. In a market governed by megacorporations, entire armies, labourers, and even countries are bargaining chips frequently auctioned off to the highest bidder. Following one such trade, you and your compatriots ended up in the service of a Eurasian businessman. One of the man’s eyes is cybernetic, electronic circuitry visible beneath a pale green, fiberglass iris.

I don’t remember this part, though. I swear I remember our boss being a genuine military general. Has someone been messing with our memory?

Wait, actually, this might be premature panic; it looks like we just never examined the General in the original briefing. If you do, you get this same “Eurasian businessman with a cyber-eye” description then as you do here. Although I’m still anxiously waiting to find out what the heck is going on right now.

As you watch, the colours of the spherical map change, highlighting territories around the world. In the last millennium it was governments and alliances. Today the key players are megacorps, and one company in particular occupies a noticeably large percentage of land mass.

“Utopia Technologies,” the General states, continuing his briefing. “The largest empire the world has ever known. Since its inception, Utopia has grown into a global dictatorship with major holdings on all seven continents. They continue to expand across mountains, ice, desert, oceans, even the depths of space. And if they are not stopped, Bai Lihong Enterprises – and with it China, the last free country in existence – will be consumed.”

China a free country? And you believed it too. Utopia owns China! Bai Lihong is our subsidiary. But what do you do when you have no competition? Invent some! Sorry if you’ve heard me say that already. I’m a recording.

So, wait, our entire understanding of global politics is actually a fiction? Who even are we?

>X GLOBE
A three dimensional, computer generated image projected above a laserdisc. Hologram generators are commonplace enough, but this military version has a trillion pixels per cubic centimetre and over ten thousand colours. That’s what the guy said at the last tech briefing. Personally, you can’t tell the difference.

“So far we have contained them, but our resources grow increasingly limited. And now my spies in the California Archipelago inform me of a new Utopian project. Scientists the world over, mainly from the fields of cybernetics and nanotechnology, have been… recruited. Kidnapping is perfectly legal, of course. When you own the police, you make the laws. The good news is we know where the researchers have been taken. Utopia did nothing to hide the fact. And why should they? When you consider the bad news…”

The image blurs into a mass of light, then reforms and takes on the shape of a building. Not just any building – even vastly reduced in scale and coloured so brightly, the Utopia Technologies Arcology has lost none of its wonder, nor its power as a symbol of iron fisted tyranny.

Scientists? What scientists?

So I’m getting that this mission was a setup, somehow and for some reason. But were we really a soldier in the Chinese military? Does China even have a military? Was this whole thing a setup so that Ivory Worm could send us into the Arcology to spy on … herself? And if so, how does that possibly make sense?

>Z
Time passes.

“I see you recognise the building. Enclosed city would be a more accurate description – an entirely self-sufficient colony housing one million people under a single roof. Its forty levels have everything a society needs: accommodation, schools, hospitals, factories. And somewhere in there, the world’s greatest minds work in secret on a project we know nothing about.”

The General pauses for a moment then carries on. Yeah, you get the picture already, and it bleakens by the second.

“Built in the submerged ruins of San Francisco, the Arcology took Utopia two years to design and a further fifteen to complete. One third of the floors are below sealevel, yet the structure has withstood earthquakes, typhoons and ecoterrorist attacks. It’s a human made black hole. Many people go in, but none come out. Even the mysterious Director does not leave his fortress. Immigration is permanent, and I’m asking – no, ordering – you to go in there. To find out what Utopia’s up to and get that information back to us.”

Difficult to complete a mission that never was. An impossible mission. Considering your predicament, I’m reminded of the classic introduction. Another visitor. Stay a while. Stay forever!

Nanci/Ivory is bidding for some hardcore nerd cred here by referencing Impossible Mission, a game which is by now 180 years old. I guess the quality of humanity’s creative output really tanked some time in the early 21st century, given the lack of references to any original media from that time onwards.

>Z
Time passes.

“I know this is a lot to demand from a single woman, but you won’t be alone in there. Your talents for resourcefulness and sheer determination are valuable assets, but they will not be enough. So I’m assigning you a partner on this operation, a secret weapon of ours that goes by the name of Nanci.”

A tiny drawer, designed to be blend in perfectly with the wall, slides open underneath the video screen.

And Nanci makes her – or rather his – entrance. You must be sick of picking me up by now, but you don’t really have a choice.

This and a couple of Nanci’s other comments seem to imply that we might be visiting this scene (and commentary) yet again in the future?

>TAKE CAPSULE
The second you remove the capsule from the drawer, it slides closed.

“Nanci’s so small you can hold her in your hand. The perfect companion.”

Yes, and the perfect mole. Even Crystal would be proud.

I’m still not clear what it is that Nanci/Ivory is actually infiltrating here, given that she ought to have access to all of Utopia’s surveillance systems already. But let’s not also overlook that she’s just name-dropped Crystal Mole as a fifth Daughter of Eden, leaving us with only a crocodile left to discover.

>EAT CAPSULE
With a touch of hesitation, you swallow the pill and gulp it down your throat. You feel your skin tingle, and your hands start to shake. You give the General a fierce glance, but all he does is smile. After a moment, everything is normal again.

“Even with Nanci’s help, you’ll need to be extremely careful. Utopia Technologies have practically redefined security over the last decade. You’ll be going in undercover as an immigrant worker by the name of Alice Ling. From this point on, you no longer exist.”

Yeah, like you ever existed in the first place.

This is the bit I can’t figure out. If not only this mission but our entire existence is part of Ivory Worm’s scheme, who are we? Do we even have a human body? Memories of childhood? Parents? Is this cyberspace?

>Z
Time passes.

Testing. One, two, three. You hear me? You can? Great! I can tell from the way you’re looking around. I’m Nanci, by the way. Technically it’s NANCI in upper case, but I prefer the first way.

The voice reminds you of a sixteen year old schoolboy – the playful, geeky kind that thinks he knows everything but doesn’t have a clue. For a moment, you almost thought you saw the General smile while you looked around in vain for a nonexistent male companion, a boy called Nanci.

Don’t you feel better knowing I was a woman all along? We really took the resistance to pieces. You were the brawn, and I was the brains.

Nanci/Ivory is taking pride here in the fact that we’ve helped to compromise the Utopian resistance. But the contact protocol that led us to the woman in the Waterline Club and thence to Zacharias is the one thing that we couldn’t have known without Nanci telling us, which means that Ivory Worm knew it already. So why go to such terribly convoluted lengths to follow it up?

>Z
Time passes.

“Colonel, meet NANCI, our latest prototype. Nanotech-based Audiovisual Neural Communications Interface. A cluster of tiny machines in your body that enable us to remain in contact twenty four hours a day. Essentially, we see, hear, and to some extent feel, everything you do. More importantly, it’s next gen and completely undetectable even with the latest Utopian equipment. The interface links directly with your brain, so Nanci is inaudible to anyone except you.”

We were watching the whole time. You led us right to them. Poor Professor Zacharias. He’s dying out there, and you’re stuck in a loop. There’s no way out without killing yourself, which you can’t do, or finding a bug. But I’m Ivory Worm. I don’t design programs with bugs. Especially not one so simple as this. A series of events that always occur in a set sequence. What can go wrong with that?

We’re stuck in a loop? How much of a loop, exactly? Are we going to conclude this briefing and find ourselves back on the shuttle, doomed to replay the same mission again from the start? Whatever it is, Ivory Worm’s claim that she can’t possibly have left us any way to escape certainly sounds like we should be taking it as a challenge.

>Z
Time passes.

“I would wish you luck, Colonel, except I don’t believe luck’s a factor. If you’re good, then you’ll succeed in your mission. And if you’re not, there’ll be no discipline on my end. That won’t be necessary, because you’ll never leave the Utopia Arcology alive.”

Heck, you won’t even leave cyberspace! Want to go again? Hold on a sec, while I press the reset button.

The scene rewinds in front of you, leaving things as they were at the beginning.

Oh, so this is the loop—it’s not that the whole mission was some sort of cyberspace simulation, but that having outlived our usefulness, the black box which Ivory Worm planted for us to find has now trapped us in an endlessly repeating replay of the briefing sequence. I’m guessing that it’s too much to hope we can:

>EXIT
I’m afraid you’re stuck here, Colonel. For a very long time.

6 Likes

COLOMBIAN, no?

Don’t do “after reading a command” rules, kids!

I don’t actually know what would cause this sort of problem in I6, but in I7, it’s almost always “after reading a command”.

Are they not going to pay us for this scene? Were we supposed to do this for exposure??

The hexagonal cyberjack is the one that was originally in the shop, right? Didn’t we use that one on our guidebot? If so, I think this is the first place we have to use the same cyberjack more than once; I’d been thinking of them as one-use keys.

Oh. Or not. It’s really convenient that we keep finding exactly the right cyberjack stored next to the thing it accesses—but that also feels pretty realistic, given how non-universal they are. Why wouldn’t you store the jack alongside the equipment?

?!?!

And she “designed” us, too?!

Is Ivory Worm trying to seize power for herself? I can’t think of any other reason why she’d be fine with us murdering another Executive in cold blood.

Or maybe all those later references just go right over our heads!

I’m pretty sure all those comments were just as creepy coming from you, Ivory…

We also know that Ivory Worm likes to play games with people and see if they can solve her puzzles, like the encrypted message in that student’s account. If I were Alice, I’d be thinking this is another deliberate challenge: she left us a way out, and wants to see if we can find it.

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The jewels of Denario are from the Andy Phillips game appropriately titled “Heist”.

6 Likes

This also feels like a major turning point in our adventure; were we supposed to handle all the other loose ends before going to the movie studio? Off the top of my head, we didn’t recover anything from the collection plate in the church, win the Utopia Freedom trivia game, get the subbuteo piece out of the museum, get the subbuteo piece out of the school, or figure out why there are so many subbuteo pieces everywhere to begin with.

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I have a vivid memory of some kind of big scene set in a sports arena, and that seems connected to most of the lose ends you mentioned, so I wonder if now is a good time (but I’m not sure).

1 Like

Yeah, all this is why I think you’re right that this is a mid-game fakeout – though structurally this is a bizarre place to put a twist like this so who the heck knows.

(I will say that the initial political briefing did seem bizarre and Western-inflected, rather than like what would reflect an actual future-Chinese viewpoint, to me, so if that was an intentional note of dissonance and this twist is real, well played, I guess!)

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