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SelenicMartian posted:It doesn't allow me to type in some of them, doesn't crash with the others. Yet . . . Yup, there is your instant win button. At least maybe. I love when stuff like that happens. I guess they did not take it out before shipping or something. Probably best not to continue on that game, no idea what flags got tripped by this. Also, how far is page 2 anyway? EDIT: I DID IT! YAAAAY!
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Dec 1, 2014 20:54
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Part 5. Five Beers, Please Last time on 15 Days we've encountered a puzzle:  Now let's see how the game itself explains what we need to do. ... ... ... Oh. Right. It doesn't. 15 Days does not explain any of its minigame puzzles. You're supposed to figure them out on your own, which isn't hard really, seeing that all of them are primitive and recycled. Here we're supposed to connect the PC at the bottom to the PC at the top by building a connection chain through the nodes. Each node has a price tag. Presumably, we should not exceed a certain total. A certain total we only find out after failing the puzzle once.  Apparently, reaching 25 is bad. Fine.  There's also this timer ticking down in the corner of the screen. It starts at 2 minutes and when it hits zero...  Is it bad? It's a hacking minigame, and we ran out of time. It's got to be something bad...  After another 30 seconds I realise it is a button. Pressing which...  ...solves half of the puzzle for you via the magic of an "autorouter". The solution doesn't even go away if you press the reset button to restart the chain. Why the gently caress is the hint button labelled "Disconnect", not "HINT", "Autorouter", or "Click here!"? The most mediocre hidden object games get this right.   : Hah, these amateurs! : Yeah, Mike, House of Tales suck at puzzles. Also, animation, sound, writing, and staying in business.: Voilą, The whole plan, beautifully cleanly labelled and all of the security systems are there too.: "All of the security systems"? You mean, the whole "Bernard and the cameras" sequence was completely bloody pointless? gently caress you, 15 Days!  : Children? : : You know who's just hacked the superhumanly protected network and Wilbur & Thompson then? Super-Mike, Master of the Digital Tides! No, don't thank me. It's just my daily bread, making the impossible, possible.: They never expected him to beat their security by disconnecting and pretending he's not interested. And I didn't expect the game to use so many commas in Mike's last sentence.:   : You just said we shouldn't thank you. Come on, turn it off.: Ha, great. You guys are real smartarses.  : We're back to Cathryn. I'm going to make her look at everything Bernard has examined. : Uh. Let's do it. The ants, the statue, the golf ball...: A strange installation: I'm not sure what he's doing there.: Is it big, or am I small?: That's what she said.  What? She did!Now for the ice cream and the evening sky picture. : Sweet.: It looks somehow melancholic. : Exploring the exhibits here - first this orange object and then the metal sculpture. There's that door you need to finger, too.: It's... orange.: Audacious construction.: A fingerprint activated lock. : The cellar accessible though the stairs right behind the orange crap offers the same two piles of junk and the door.: Just a heap of old crap.: Grim...: Locked. : New hotspots to examine. There's a large picture and a wooden sculpture with child.: An old musical instrument. Cool: Heck, that depiction of the Virgin Mary's gathering some dust.: If that's Virgin Mary, who's the other guy, with a boner? Regardless, time for a chat. Great, we can't leave now.  : The guy was looking at her a second ago, but he turns to face away as Carthyn delivers her first line. He wants it all to end as much as I do. : Do I know you... ?: Tony! How's Maude? What about little Rachel? She must be going to school by now!  : Yeah!: I don't believe it. Cathryn! My God you're...: ... grown up? Come on, say it!: Yeah well... Yes! Really grown-up. You're looking good. God, how long has it been?: Seven years Tony. You had that ridiculous moustache back then. Looked like a porn star.: Oh my God, you remember that... Well. Maude forced me to shave it off. I feel completely naked. Don't look at my face!: You look great.: You too. : Are you used to this dialogue interaction style yet?: Tell me, what are you up to now? Are you still studying?... No, you must have graduated ages ago, right?: Yeah, well, it was a difficult journey. Definitely. But I did it. At some point they just didn't want me there anymore.: And now? Are you working? Still doing guided tours? Got a family? : Oh yeah, that's right. You had those friends... you're still living with them? Weren't you going to start a revolution or something...? Did you manage?: Sure. Don't you read the papers? : Luckily, he didn't assume they stripped the Big Ben.: Exactly. In cold blood. With a sawn-off stiletto heel. And now we're planning the ultimate economic crash.: Getting all you you lot fired for incompetence.: Well done. Burn down the Ministry of Culture while you're at it. They've just cut my wages for the third time.: I'll make a note. : Not "Information", completely different.: And? How did things pan-out here? It was probably hell here without me.: Worse that hell. We had this break-in five years ago. After that the place was converted into some kind of Alcatraz.: I saw it's full of cameras now.: Yep. At the same time they fire half of the guards. The cameras see more and cost less. Next month they're kicking Stevens out. Remember him?: Stevens? No.: Yeah, poor sod. Used to teach art at a secondary school. The sacked him for being drunk. He dried out and started working here - they needed some poor fool to change the hard drives as long as the system was just semi-automatic.: And now it's completely automatic?: That's right. Now there's just patrols into the security room, no permanent crew. He's already got his papers. Now he's getting drunk every day. He's in the pub by 5 o'clock.: Oh dear. : And you? Are you worried about losing your job?: We're all worried, aren't we? I mean, have a look around. Everyone's wondering who's going to be next to go. They're scared of terrorists, thieves, burglars, criminals. They cling to the feeling that they're safe, that there are heroes watching over them. And well, I'm one of these heroes. Maude and I bought a house three years ago. I need the job.: You won't lose it. I'm sure.: Huh! The director has already warned us. The people leaving now won't be replaced and if you make a mistake, you're out. : How's Maude doing? Is she working again?: The director was generous enough to give her a cleaning job. She polishes the whole place once a week. At night.: Sounds like a tough break.: Yeah, but she's a tough girl. She's working tonight be the way. My night off.: Ah-ha, and that means?: Whadda you think? Time for the pub! I'll take over from Stevens there as a worthy replacement.: Oh dear... And the children? : Don't look like that. My nephew's looking after them. That means... he's secretly watching my DVDs and emptying my fridge.: That's what babysitters are for.: Hey... why don't you come along?: What - on your pub-crawl?: Yeah of course! First I'll get you really drunk... and then... we'll talk about the old days.: Hmm. That sounds great. You're married Tony.: Technically, he is a married Tony, but a comma wouldn't hurt.: Oh. drat. I'd completely forgotten. Well, whatever... then we'll REALLY talk about the old days. Hmm? What do you say?  : OK Tony. I've gotta go.: What about this evening?: We'll see. Otherwise we can meet up soon.: drat. If I'd only kept my moustache.: Just get me a black cat, and some duct tape, and some maple syrup...: See you later Tony. : We can leave! Run, Cathryn, run! : : Ambient noise + headsets. You know the drill.: : Met an old friend of mine.:  : He's over in the pub on the other side of the street.: : You stay in the van Mike. I'll do this. You can have a beer afterwards.:  : I can't believe the "ine" letters are not stolen from the pub's front. Anyway, we can check out the window, the book store and the chalk board.: Hmm... There doesn't seem to be all that much going on yet.: Nice.: Ah... the pub's open.: We're going in.: Hi!  : (whistles) : Henry, leave it... What can I get you sweetheart?: Let me see... : What's with the art prints?: Fine Arts Pub... I think I get it. : The back of the pub is also explorable.: Pah. I don't really wanna think about beer after last night.: Last night? Wait, have they already started celebrating? How much is left of the 2 million?There's a snooker table through the door in the back. : It's rather more something for Bernie...: Any comments on the bottle rack?: I'm already getting a headache just looking at that stuff.: Let's chat with the barman: A cup of tea please. : Barely audible. The background music is merciless.: Shut it Henry... a cup of tea for the lady. On its way. : Nice pub. I like it. Is it your place?: You wanna buy it, sweetheart?: Is it on the market? : Sounds attractive. How much?: A mere 40,000 quid. Plus two ninety for the tea.: Then let's start with the tea.: I tell you what, darling, if you buy this dump, : You can pay off your own tab first, Stevens. : Let her drink tea in peace.: Don't be like that! Let's have a drink! : His wife's on the family program at Alcoholics Anonymous.: You're a scumbag Chuck. Come on girl. Don't listen to that tattooed idiot. Have a drink with me.: Stevens, you're harassing my guests.: It's alright. I think he's rather sweet.: Takes all sorts... : Cathryn moves over to the drunken git. For the next dialogue all lines are barely audible over the repetitive background music. : Ha. Hey Chuck, see this? You and your tattoos can take a running jump, mate. The girl knows a real gentleman when she sees one, hey?: What are you drinking?: What ARE you drinking?: His fourth Guinness. : I'll have a Guinness too please, Chuck.: I like this girl! Come on Chuck, pull her a pint!  : You work over there in the museum?: No not really. : Cathryn's gulping sound is louder than both her voice and the the music. In addition to being out of sync with the animation.: Sorry. What are you going to do after that?: Yeah, well, I guess I'll be keeping me old mate Chuck company more often. : Stevens seems to use the same gulp sample. Either that or it was Cathryn again.: It's alright. You see girl, since the break-in, the management has installed all kinds of security. Humans are too fallible for them. Don't see enough. Don't hear enough. Go on holiday. Make mistakes.: Which break-in was that?: A couple of cheeky fellas cleaned out half the Turner exhibition, didn't they. They bribed a couple of guards. The paintings were apparently for some weapons maker, but they could never pin it on him. Anyway, the museum then decided that the human guards are the weakest link in the security system. Then they started to move everything over to automatic surveillance.: I've never heard about that case...: Yeah, well... they kept it hush-hush for a while. They thought they might have been able to uncover something bigger, that's why they kept it quiet.  : Well. I'd better be off. I was nice to meet you... Henry. : Oh yeah... I'm... Tracy. Well then...: Whadda you say Tracy? Can I see you again? Can I have your number? : Handwave. This is not the Tracy you're looking for.: Wait a minute. What about your tab?  : Hey, I pretty much own shares in your bloody pub. That makes me your boss Chuck. Have a think about that while I'm taking a leak.: There you go Chuck. The pub's already sold...  : Now, see the two glasses on the bar?: OK, I've got my glass. : I get distracted by the mini banners near the camera.Anyway. Now we use our glass on Stevens' gla...  Who the gently caress is Steven?  And then it plays in reverse. : Surely, no one is going to notice that HER glass is missing, or ask about that tea she ordered. Or need any clear prints on that glass she grabbed.: So, the glasses have been swapped over. Time for me to go.: OK, guys... maybe I'll see you around. : Well, Chuck is blind.: Sure. I'll let you know.: Let us go!First, I check out the glass in the inventory.  : Yep. Steven's. Dubbed and everything. Oh, and Chuck's neck seems broken. : Then off home. : This is the second map use in the entire game. This update covered about 15 minutes of footage but let's stop for now. A big talk is coming. Here's a genuine subtitle from it.  P.S. The drinking scene comes as a bonus right up to the "Steven's beer glass". The first gulp comes shortly after the 1 minute mark. 
SelenicMartian fucked around with this message at 10:25 on Jan 8, 2015 |
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Dec 1, 2014 22:57
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Part 6. Deep Six We come back to the game waiting for me to direct Cathryn to the war room.  : You smell of alcohol. I'm disappointed.: Sure. What have you been doing? : We've been working. I've got the plans, Bernie has the camera locations. And now the million dollar question: WHAT have you got? : Good grief! Bernard, she's taken one of her turns. You take care of it, I'm going out for some fresh air.  : Mike, the fresh air?: Don't look like that.   : Worried. Fatherly. Therapeutic.: What happened? Do you want to talk about it?: Bernard is now in ELIZA mode.: I told you. Useless therapy crap.: OK. And what else?: Yep, those are ELIZA reply patterns.: What do you mean, what else? Nothing else. We're a bunch of idiots, that's all.: Good... What makes you say that... ?: Bernard seems less and less human with each line.: We steal from the wrong people. I've just spoken to the guard from the museum. He lost his job because there was break-in years ago and now a computer does his job.: Have you got his fingerprints?: Yes, I've got his bloody fingerprints. I conned him and now we've got his fingerprints. But it WASN't RIGHT.: Why now?: Because he's not stinking rich art dealer, Bernard. He's just some poor guy in a museum who gets fired because of people like us. People who break-in and deceive and steal.: We don't take anything from anyone, Cathryn. We take something back. You've said that yourself often enough.: Don't tell me what I said.: Isn't that true any more?: I don't know.: You need a rest. : Suddenly Mike's back. He appears backwards.: Listen. I understand you, but we've just agreed to do that thing. I've already spoken to Homes not Bombs. We've got to go through with it.: I know. : Mike's creeping up. He's not walking when he's on camera.: OK? : OK?! : Mike is terrifying. He springs into action. : The blueprints spawn on the desk in front of Cathryn.: Perhaps you'll be interested to know how hard it was to get hold of them? First, there were multi-encrypted codes. Then the server routing - very clever. Then I had to - : Excuse me? I'VE got to get to bed! I've been working on this for thirteen hours...  : Then use it! You have the script coded for already having the glass, roll with it. And yet I still have to click. What's that paper again?: The construction plans for the museum.One glass later. : The idiots really have written all over the plan.: They could afford to. It all looks bomb-proof to me.: There's gotta be a way. Those other guys managed to break-in seven years ago.: Yes, but that was BEFORE all this equipment was installed.: Wait a minute... : Just how much blue printer ink did Mike blow on printing this page?Anyway, it's another puzzle, this time without any timers or hints. We need to find a thing that will get the plot moving. The only thing that looks noteworthy is the fact that the museum has a direct connection to the sewers and the Thames, in case they need to dump some art real quick. However hovering the lens over the Tames does nothing.  : Here's our trigger. : I'd like to point out that no one is looking at the plans. Speaking of not looking at the plans... Pay attention to the shadow too. I made the second half of the gif by reversing it. House of Tales reversed the getting up animation as well, but they tried to hide it by changing the camera when Bernard raises his hands off the table after he sits down. : Impossible. We won't get through there. That bend in the Thames is underwater. : Oh. No. Not diving again. I'm not going through all that again. : Bernard, she's having her visions again!: We've got to try it. We'll dive.: Fine. Super. You two dive, I'll hold the fort.: There aren't any sharks in the Thames, Mike.: Oh great! Then it's completely safe!: But I can't open the steel door.: The steel door? What? Where?: Come on, Cathryn will be with you.: I hate you both.: Alright then. Stay here. We'll just go and have a little look first. You can at least get the boat ready, OK?: I'm on my way.  : And they go, and stop there as the screen fades. : Wow. You're quick...: To the pier!: Are you ready?  : I can't hear this line. It's not the music, it's the background noise of the waves splashing against the pier. Any lines here become unintelligible every time the developers switch to this camera. : There's a pause as everyone judges Mike, and then the screen fades without anyone moving.  : Perhaps you can get through underwater. We'll have to take a look.: OK. Then I'll dive down. : There's exactly one thing to click on on the entire screen.  : Barely audible through the bubbles. Oh, and the hands are animated at about 10 frames per second.: :  : One click on the close-up shot. No thinking is required. Why, yes we do have a rope, apparently. : I thought, you have to back away in case a chunk of metal flies off and knocks you out, but Cathryn will only initiate the tearing from here.:   : This is unsafe on so many levels. : The boat with lacquered Bernard(?) speeds off leaving no wake.  : Miraculously, the grate opens without killing anyone.  : Cathryn has no reaction to a wildly swinging piece of metal. Did you notice her diving gear? She didn't have it during the chat on the surface.  : The diving gear is gone. The camera keeps mercilessly zooming in.: : I've done it. And old vault. There's a steel door. I guess it leads to the museum cellars. : Some motion in the corner caught my eye. Behold, the hovering junk. : Wait, I'll have a look...: : Nearly done.: Check out the dilapidated ceiling...: Hmm... Hopefully it'll hold for a while.: ...the vent...: Bah. It stinks here.: ...and the water.: I really don't want to know want swimming around in that.: The forecast for today is thieves and rusty grilles. What's going on here? : This seems to be the way to the museum. OK... now how to I get in?: Start by investigating the lock cylinder.: God. The writing is much too small... : Amazing, the game has left exactly one item in my inventory. : Bernard?: : OK, I'm coming back. Be there in a minute.:   : The moment I've been waiting for. Jack's purple subtitles turn unreadable.  : OK, we're back to normal, for now. The scene kicks off with loud music.:  :   : Can't stop taking pictures of their casual movements.:  : : Yeah, quite. A family heirloom.: SPLASH!!!: : Have you found it? : The watch. Did you find it?: Oh, right... no. No, no. Too dark. It's all mud down there.: What a shame. Say, is anyone allowed to dive in the Thames?: With a diving licence? : Ah, OK. Oh well, I've gotta go. Alright then. Have a nice evening.: Fade to black.: drat : I thought I could do it quicker. And I wasn't to know that you would start having a nice chat with him.: HE spoke to ME. : Wait, when did you hear that? And why didn't you stay submerged then?: I told you to stay down there. Let's get out of here. Right now.: We're back to Jack, who can examine the entire museum all over again. Starting with the pigs and the building. : If that's art, I'm a bishop.: A pretty ugly lump. Yeah well, that's modern art, I guess. : The ants, the statue, the ice cream, the golf ball.: Is that garbage, or what? Reminds me of a B-movie I saw once.: If you're looking for trouble, just come over here.: Disgusting.: What the hell's that supposed to be? : Oh, hey, we can check out the boner statue. And the "modern screen print" behind it.: Boring. : I still love the subtitles. Now it's time for the Churchill: Hmm... I know that from somewhere...: Now for the other painting and the Virgin Mary. : My nephew paints like that too. He must be a genius.: What the hell, at least something's recognizable. : Sheesh... Not so easy to differentiate between the exhibits and the garbage.: Hey! Looks like it does in my office. : I only now noticed the crazy bird statue here. Anyway, let's check out the orange poo poo after...: A fingerprint activated lock.: Gross!: We all missed more of that beautiful dialogue, and Tony. Hmm, we've got a choice... Let's quit. : Good. I'll gave a little look around. I haven't been to a museum for ages... Oh, and could you tell where I can get a drink around here?: The Fine Arts Pub. Across the road...: OK, thanks.: Enjoy yourself.: Well, that was weird. Let's come back and probe for information.: Evening.: Good evening, Sir.: Have you got a minute? I have a few questions to ask you.: It depends. : What's this about? The break-in was years ago.: Just a few routine questions... Your museum works with the logistics company ArtTrans, right?: Yes... and?: You know their staff?: Hmm. A couple. Why? is there a problem? : Could Jack look any more sarcastic?: Have you noticed anything different about them? Change in personnel, unreliability, problems?: Hmm. There's been a bout of illness recently, but I guess that's more to do with the fact that their guys are so badly paid...: Mmm. OK. When was the last time that someone from ArtTrans was here? : Now I can quit for a repeat of that dialogue earlier. Let's hit the pub.   : Examination time. I can't make Jack comment on the "fresh" date on the red banner. We'll make do with the bookstore, the window and the pub front.: I hate books.: Not much happening inside there.: Nice pub. Really retro. : Gah! The music! It changed! It's worse! Say, can anyone make out the lyrics? IDed as "Sonic Liberty // Klangfreiheit-KF016106 Line Of Fire"Jack appraises the art prints :  : Hey, a fresh newspaper!: :  : You'd think The London Daily Paper would be... daily. We want information. : Evening...: Good evening...: My God, what did you give the poor guy outside?: Oh, you mean Stevens? Yeah, well he's had enough for today..: ".."? : I'm spoiled for choice. What's with the pub?: Not much business in here.: You're telling me.: : Had I been marking the inaudible lines realistically, this entire scene would have been crossed out.: Well, people have got less money in their pockets. They prefer drinking at home.: The guy outside didn't look much like a millionaire either. A regular?: Unfortunately. His tab is worth more that half of this place.: Whoops.: Yeah. The poor git. He's about to lose his job in the museum. Now he sits here every day and drinks on credit. And buys drinks for girls. I must be an idiot.: What can he tell us about the old newspaper?: : Yeah. Poor sod. That's what you get though.: What do you think happened?: Jack is an old school detective. Instead of a pathologist, he consults a barman.: No idea. Perhaps he just took too much coke.: He had plenty of enemies I hear. : : You've gotta look UP mister. On the roofs. On the street lights. There's a camera on every building. It's called CCTV. When you spend a normal day in London, you're recorded more than 300 times.: Not bad. And still people can steal the numbers from Big Ben.: Yeah. Crazy, innit? But I'll tell you something. They'll catch them. You see the photo? That was CCTV too.: : You just wait. They'll catch them.: OK. I've gotta go. : Here's where I noticed another 15 Days bug kicking in. The game forgot to free Jack's head from its lock onto the barman.   P.S. For bonus videos there is the metal-tearing sequence, with a cutscene refusing to end, and Jack's visit to the pub, complete with the music.  
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Dec 4, 2014 00:10
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The game's still making no sense to me on so many levels. What's the point of it exactly? Between the 'riveting' story and the constant 'click button to progress', it's.... just really dull.
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Dec 4, 2014 02:30
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Keldulas posted:The game's still making no sense to me on so many levels. What's the point of it exactly? I'm reminded of a poor man's Leverage. (Or It's British counterpart\predecessor Hustle, which i haven't seen yet).
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Dec 4, 2014 14:08
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Part 7: Seven Digits to Dial We've got the way into the museum checked out, and some kind of plan is taking shape. Maybe we can just fast forward and do the deed? No.  : First we had to clear the way into the drain. Then Bernard had a bit of a chit-chat with a passer-by.: Oh yes, a recap of the events that took place ten minutes ago. By the way, I barely hear them, the music from the intro chatter in the first update is playing again.: Very funny.: Seriously. There was really someone there. : Mike, you don't look too worried.: I tried to tell Cathryn...: I don't believe it. Who was this guy?: Probably just a tourist. He had an American accent.: What did you tell him?: That Cathryn was diving for a lost watch.: Brilliant. Really, absolutely brilliant. Why don't we just send and invitation to the police? You two are really getting old. Oh boy, oh, boy, oh boy.: Next time you can got and think of something better, smart arse. : How's the fingerprint going?: I haven't done it yet. Where's the glass?: I don't know, it vanished when we went diving.: In your room.: Phew...: OK, I'll have a look at it.: We also need a list of the guards who are on duty tomorrow.: Tomorrow?: Yeah. I'll do it. I'll do it all. That way I'll at least know that you guys won't screw it up.: Pipe down now.: Huh. See you later. I've got things to do.  : At last, I control Mike outside of the van. You know what that means? Revisiting all the other locations! Hey, new characters! Actually, this is where the idiotically allocated 15 Days budget began to run out, as Mike doesn't have any hotspots in most places (including Cathryn's and Bernard's rooms) and refuses to enter most buildings. The excuses are: : Not now!: No, not now. I've got things to do.: I have to do something else first. : Where? Anyway, this is the only place Mike has any comments on. We can uncover the mystery of the arcade cabinet.: The 1976 Sonamu. I needed three weeks to get it going again.: Unexpectedly, there is a second comment if you examine it again.: A real museum piece.: As for the action figures...: My Master Force collection - only Boostman is missing. : Oh, crap. Mike's room also has a second screen. There's the pizza, and the poster for Overclocked, the previous game by House of Tales.: I've got my Pasta-Jim's charge card here somewhere. The platinum version.: Lots of games are already classics right from the day of release.: The developers really think they are masters of adventure game writing.The room also has a TV. : Ah... the gateway to a better world.: Bullshit! My gateway is showing me 15 Days.Anyway, let's solve stuff.  : We pocket this. And then we can interact with...: A UV lamp : Your sword is blowing glue! I mean, you sword is glowing blue!: So.: Now I realize that Mike somehow already has the glass in his pocket. We use it on the silver nitrate.: OK... That's it then.: Then I try break the game's logic by using the glass on the lamp when it's turned off.: Just a mo. It won't do anything like that. : It doesn't. That's one of the main issues with this bloody game. : Look at this poo poo. The artist couldn't get even the golden rim right, and then added a caption, and a wheel.  We quite literally take the fingerprint.  : OK. Now I've only just got to transfer it over.: Where to put the print? Ah, the gloves in the sink. : Voilą. The artificial security guard's finger is ready. In nought-point-nought seconds. I'm a genius... : Hi, Cathryn, what script trigger brings you here? : Alright, I've done it. Where's Bernie?: In town.: Again... ?! Am I the only one who's actually preparing a break-in here?: Take it easy Mike. You're the greatest. : Eww... Wait, again Mr. Steven's? And it's voiced like that? Did anyone proofread this poo poo before giving it to the actors?: Ugh!: I've also got hold of the staff list. A guy called Michael Nesbitt is on duty in the museum tomorrow night.: Wait a second, when did you do that? When did I do that?!: Nesbitt, OK.: Is that alright? No qualms because you knew the guy from the past or something?: Don't get on my nerves Mike.: Just asking. : 100-62-34 Did Bernie say when he'd be back?: No. I also don't know what these important things are that he always needs to do. :  AAAAHHH!!!I did not pause when Cathryn was in motion. This is a shot they picked and decided to hold for a couple of seconds over the ridiculously blurry jpeg for a background.  : Huh, the answering machine does have a message light on. It wasn't there when Mike went upstairs to make the finger.: There's a message for you on the answer phone. Your father I think.: How do you know that? How the gently caress does this game go from unnecessary recaps to knowledge just happening in people's heads? : Good grief!: Yeah! The writing is awful!: He's called a few times, hasn't he?: Once so far?: Looks like it.: What's up with him so suddenly?: Just the same as ever. He can't deal with the fact that he's a pig.: Oh right. Alright then. I'm upstairs, OK?: OK. : Hey, I saw her move her lips!  : Yes, Cathryn keeps quiet twice, with a short interval in between when she's silent.Anyway, she walks away without listening. End scene. Hooray.  We fade back to the loft.  We transit to... Indoors. At this point they just plug the blurry scene transit clip everywhere.  : I love the way no one gives a drat about the characters' facing any more.: Sorry. I ended up hanging out in town a bit.: : Hey, it's the game's launcher music! It is a surprise. : It's about time. But first I have to click two times to walk Cathryn to the table, and to investigate the projection screen which makes her use the projector.: So. The London Modern.  : Mike, you park your van in front on the museum, tap into the cameras and be at the ready. I'll swim through the drain and get into position in front of the cellar door. : At 10.50 I'll call the internal phone in exhibition area 2. While the guard's on his way there, Bernard enters the museum, goes to the surveillance room, opens the door and turns off the recorders. Mike, you watch over the cameras and let Bernard know when he can leave the building again. I'll open the cellar door with the bump key and then go upstairs. Then I'll swap the pictures and head straight back.: Will the briefing have a tea break?: Bernard, in the meantime you should be back at the van. You two get out of there without attracting attention. I'll take the boat. We'll meet back at the loft. Is everything clear?: Crystal...: Good. Then please go and check the kit and prepare the boat and the van. I'll go round to Robert's. Hopefully he's finished...: Wait, you made plans for a specific day without knowing if the copy is done? I'm in control, and... We can't escape the blinking light. Let's get it over with.  : Just this stupid thing again... Cathryn, please call be back. It's important. I want to tell you something. I... er, perhaps I made a mistake. I only want the best for you... Please. Call me.: Huh. A Mistake?  : You were listening in!: Listening in? He loving teleported in!: I just overheard, Cathryn. Call the old man. Everyone knows he's not so good.: He's not the only one who isn't so good.: Why are you so hard on him Cathryn? It doesn't suit you at all.: Mike, that's my business, OK? Please keep out of it.: Alright. I was just trying to be nice.: I don't need anyone being nice to me right now. Especially not you.: Oh right. I see. Especially not me, huh? You'd probably prefer to be all chummy with good old Bernie? : What's that supposed to mean?: You don't even notice anymore, do you? Bernie can do whatever he wants. Bernie is never here, I do all the work and all I hear from you are demands and insults.: What a load of bollocks. What's all this about?: And I always thought... : Isn't it wonderful when all the action is packed into a tiny corner of the screen?: You just don't get it.: So it seems. Is there something you're trying to tell me? Then spit it out, now I'm in the mood.: Just forget it.: Out with it! : Mike! Stay where you are!: See you later. : Back to the "gameplay", the only new thing to do in the loft is grabbing the torch. Then it's Robert time. For the following scene remember the first visit video, and the music that was playing then. It's back. With a vengeance.   : Robert...?: Hey. How are you? : Fine.: You don't look very well.: You asked the same stuff the last time you were here, Cathryn.: The painting's finished.: Great. You're a treasure. We're doing it. Tonight.: Hmm. Are you nervous?: Well, yeah, a bit. But that's part of it.: Sure. You'll manage. : Everything's fine. Perhaps I'm just getting a bit too old for the stress. : Come on now, you can tell me. Are you still... afraid?: Well. I've been thinking Cathryn.: One comma can separate drama from cross-gender cosplay.: Oh - what is it?: You know, I think it's time for you to quit. It's time for all of us to quit.: Stop breaking the fourth wall, Robert. : You're scared that we'll get caught, right?: Thing's have changed Cathryn. This isn't just fun anymore.: It was never just fun.: It was never fun.: Yes, it was. A couple of do-gooders having fun, playing Robin Hood... It's not like that anymore.: You're saying this as if we were terrorists. We're not causing anyone any harm. We HELP people. : Did they really rewrite and reuse the dialogue from the previous update?: WE aren't the liars and thieves in this world.: Yes. We are.: I really don't know what's got into you all of a sudden? What's different now to the past five years? Is someone threatening you?: The concept of genuine remorse is alien to Cathryn.: You're too young to throw your life away. And you're too old to continue going on like this.: You sound like my father.: I sound like someone who cares for you.: I know that. You need a rest. Perhaps we all need a bit of a break. We'll take a break after the summer, OK? I promise. : Is there anything you need? Have you got enough money?: I'll be fine for the time being. Give Bernard a few pounds more instead.: Why? Is he broke?: He borrowed two thousand from me.: Why did he do that? : Why doesn't he talk to me about that?: You aren't supposed to know anything about this. I thought I'd tell you because you're such close friends.: Such close friends, who seem to be at each other's throats every day.: I though we were too.: Don't be so hard on him. He's ashamed of himself.: Ashamed of himself? You men really are weird. : OK. I've gotta go now. The others will be waiting.: Say hello from me. And take care of yourselves.: You look after yourself. And don't worry. I'll call you tomorrow, if everything goes to plan.: If not, you'll find out about that in the next month's issue of The London Daily Paper. : There we go. : We've got all our stuff back, but let's look at the torch. The painting can be only used.: Our old Maglite. : The third required use of the map so far. : Yeah, it's all good. I've got the picture.: And... how's McBride doing? Is he still having his panic attacks?: I'll tell you later. Have you got everything ready?: Of course.: Ready to go.: OK friends... break a leg. See you at the museum. : At last! : Aw, bugger... fine let's talk to Bernard about Bernard.: Then let's go.: Yes, he gets the first line in a dialogue started by Cathryn.: Just a minute. I... want to ask you something Bernard.: : The waves kick in.: Have you got... money problems? : Bernard. We are friends, OK? If you... : I don't gamble any more. That's what you wanted to know, right?: Don't be offended. I'm just asking because... : No one. What are you always doing in the city, Bernard?: Are you spying on me? : Dramatic zoom!: Listen. I've got things to sort out. With Michelle. PRIVATE things. Satisfied?: Since when have you been back in contact? I thought...: Cathryn. We're friends and we live together. You're important to me. But I don't need to keep a log of my life for you, OK? I'm a few years older than you. There are lots of things I can decide without you. : OK.: Let's go then. We're late.: We're finally doing it! for real! Honest! : Roger. I'm in position. Then let's wait until it gets dark, OK?: Exactly. Bernard will get changed here at the boat and then go to the surveillance room. I'll get ready to dive then. Are you guys ready?: Of course.: Always.  : Bernard? Everything alright?: : Headsets + a new music theme.: Mike, where's the guard?: In the target area.: OK. I'll call the phone now. : You can open almost any lock with a bump key.: Let's try it.: What's wrong? What are you doing? You've gotta let it ring. The guy is still standing there...: Yeah, yeah, I'm doing it.: Mike intercepts any fooling around. You have to use the phone first.One dialled number later. : OK. So that's that.: He's going over. Wait a second... OK, now. Go!  : Not yet.: I'm so proud of you.: Bernard? Now it's your turn.: OK.   : No problem... Mike?: I can see you. You can go. : Isn't that a disgusting thing...: It was a glove with some tape on it. Where did the finger come from?  : OK Mike. Good work. : There we go.: Let me know when you're ready. : Right, Mike, wait till we check it all out. There's a duty roster above the file cabinet, the cabinet itself, the wall of screens, and the blank displays.: The security guy in this wing is going to be here on his own tonight.: That looks like personnel files.: You can see the whole of the museum from here.: Apparently they're turned off overnight.: What we actually need is the recording cable on the console in the corner.: A-ha. Here's the cable. : Then get yourself out of there.: On my way. Cathryn... it's up to you now.  :  The storage room of the museum has a giant hatch leading into the sewers. I've seen galleries where every room has a set of instruments for tracking temperature and humidity, I've been to places where paintings were displayed in cooled rooms, and you'd want to bring a coat there in the middle of summer. Here... the museum storage is a dump where everything steams up, and rats poo poo on it.: In the corridor at the front. Cathryn, go. Bernard, come to the van. : The guard can wait. Let's go through this collection of junk, right to left.: That looks like a Roman bust.: It's Athena, the goddess of wisdom.: Cool.: Wow. The Middle America section's being rebuilt.: It's made of marble.The London Modern on the British Museum? You decide. Time for the main event.  : OK.: I wanna go to the ants room!: Better not..  : drat...: I use the copy on the painting. Cathryn walks a few metres back, and...  : It's too late you check you corners, lass.   : Cathryn, the guard's coming! You gotta get out of there now!: Ooh er...  : She runs silent, even though her walking footsteps were very loud.       P.S.  Also, the loft pier audio.
SelenicMartian fucked around with this message at 10:47 on Jan 8, 2015 |
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Dec 4, 2014 20:38
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Oh for crying out loud... EDIT: Does NOT set off the alarm: - Stand near the painting. - Put a replica on the floor beside the painting. - Take the painting. - Replace the painting. - Run through the museum. Causes an alarm: - Have a painting fall down. No Gravitas fucked around with this message at 22:26 on Dec 4, 2014 |
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Dec 4, 2014 22:20
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I'm betting someone's getting fired, and apparently security can only be improved by getting rid of everyone who's working there.
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Dec 5, 2014 02:31
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I'd be quite proud of the graphics in this abomination, if I'd done it myself. It would take me a year probably, but I could get there in the end. I'm a piss-poor modeller, of course. If I'd plotted out this dreck or, worse, written it -- even in six hours -- I'd probably spend the rest of my life in whisky-soaked despair.
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Dec 5, 2014 14:19
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As an avid Adventure gamer, i feel i have to mention that Overclocked really isn't a bad game. Its story isnt very memorable, but the premise, trying to find out what happened from the fractured memories of the patients was really good. Case in point, years after I played it I can't remember the actual story, but I do remember the gameplay. It got four out of five stars on Adventuregamers.com. Now this game is seriously painful to watch even in screenshot format, and from what I've heard their other games really werent that good either. I just feel that I have to defend the fact that they did produce one game that was quite good.
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Dec 5, 2014 15:15
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Thesaya posted:I just feel that I have to defend the fact that they did produce one game that was quite good.
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Dec 5, 2014 16:18
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SelenicMartian posted:An accident, perhaps? Hey, even the most incompetent company could luck out! Especially if there was a writer who happened to come up with a good concept. My internet is acting up at the moment, otherwise I would look it up myself, but maybe the person behind Overclocked wasn't an actual part of the company?
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Dec 5, 2014 17:22
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Martin Ganteföhr 15 Days (2009) (Writing) Overclocked: A History of Violence (2007) (Writing) ... The Mystery of the Druids (2001) (Story and Screenplay)
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Dec 5, 2014 18:07
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Part 8: Eighth blunder of the world Previously on 15 Days Cathryn hosed up and managed to find the only thing that triggers the museum alarms. The very alarms which were never mentioned in the plan, nor disabled, nor tampered with.  : What's going on up there?: Something has set the alarm off!: Oh crap...: Get out of there, now!: See you at the loft.   : The present position: I'm back at square one. Ellen Henston is happy that her charming husband's dead, and she's not making any secret of it. But she's got an alibi and he'd signed a couple of properties to her. For tax reasons of course. She's now free to enjoy some good times... without ol' Henston. Seems to get awfully well with her gardener too. But hey, what's that matter to me? Of course she's going to contest the will too. And I can totally understand that. I've also of course spoken to the main beneficiary, Michelle Fielding. As far as that was possible. It was IMPOSSIBLE that she fulfilled any assistant duties whatsoever. She can barely count to three. She doesn't have and alibi and doesn't actually need one. I don't think she could even spell the word 'murder'. So who else do we have? Nancy Jenkins in a hate-filled prostitute. Laureen Myers is an ice-cold business woman. But neither of them would kill anyone. Maybe the old turkey really did just keel over himself. Well, sometimes it is the right ones whose numbers come up. I've spoken to the picture shippers. They're completely harmless. The only thing that occurred to me was that they both looked pretty unwell. And one of them was wearing a darned expensive watch. Probably a fake from China. I have to tell the chief that everything's just dandy here. Henston's dead, nobody's missing him. End of story.*ALARMS RING* :  Thank gently caress! Oh, and the camera never changes throughout all this.: Whoa! What's all the darned racked about? Hmm... that's coming from the museum... What the hell's going on there? I'm going to go take a look.  : Somehow "Drive off" lands us right at the entrance, but the volume of the alarms barely changes. Jack was parked right here. Talking to the guard seems like a good idea. : Evening. What's going on here?: Put your hands up!: It was supposed to the Nesbitt guy on duty alone, right? Well, the budget is limited, so it's Tony. Which is wonderful, because Jack has spoken to Tony earlier.: Hey, hey, wait a second, keep cool. I parked close by. I thought you might need some help and...: Hands up! Now! : We'll soon find out who you are.: Listen. My ID is in the car. If you could just...: You're staying put. I've already called the police. You can tell them what you're doing here.: Come one, man! Just let me get my ID from the car. : I only wanna get my darned ID, you bonehead...        :  Well, that spares me from more monologues for a while. Oh, and while were at it, here's the video of Tony vs. Jack.   : Badly.: Not at all. : I was just laying awake. Had things to think about.: Hey, what's wrong with you guys? All in all, it went really well.: Sure. We were within an inch of getting caught. We're not doing it like that again. I'd rather go on demos again. That's better for my nerves.  : Cathryn may be just a little bit completely mental.: Hmm. And if they catch us, we'll get the toughest punishment we could ever wish for.: Stop that Mike.: The guy at the jetty saw us.: What's more, the camera at the car park saw us! If that damned alarm hadn't gone off...: I'm sorry. Can we leave it at that?: So. When's the stupid handover?: At three.: Alright then. Let's go. Bernie, are you coming?: I can't. I've got an appointment.: Again. Listen, what's actually going on? You've got appointments every five minutes.: Leave him.: Why? What is this? A pensioner's conspiracy? : Arh. Private things. Hell, I think I've got a couple of private things to sort out too. Instead I hang around with you two, almost get locked up and live off three ponds fifty, because I apparently owe my every waking hour to making this a better world.: You tell them, Mike.: Mike. That's enough now. We can talk about that later.: Later, later... Heck. Right, then let's go now.: See you later Bernard. : They still have no idea how to end these scenes.  : We've got it. That was a tidy job.: Tidy? Cathryn's mind exists in a special bubble, doesn't it? : Correct.: Have you calmed down yet? I wouldn't like to go in there with the feeling that you'll suddenly go mad and run off.: Ah, rubbish. : You don't say.: So, here we go.: Alright. : Headsets? I suppose, Mike is going silent.  : Good day. Shall we go?: Sure.: Everything OK, Mike?: Everything's fine...: Wow, I heard that! In fact, Cathryn was the one with a muted headset voice. : And they stop, because no one in this game can use the stairs. : Have you got the painting?: In the suitcase. : Eh? I beg you pardon?: I knew I could count on you. You have ideals. People with ideals are determined and reliable.: Then I hope you have ideals too.: You'll get the money, if that's what you mean.: Don't you want to check the suitcase first?: He was the one who brought it to the meeting.: Why no. You would not deceive me. : You are too scared... And your little friend down there... he's even more scared than you. He knows that it wouldn't be good to deceive me.: You said we were determined idealists.: That's the difference between idealists and idiots: the idealist knows when to be scared. The idiot runs blindly to his ruin.: Give me a sign if you want to get out of there.: The view is even more impressive today, don't you think?: (keeps quiet) : No! Say no!: Tell me more.: Here's an envelope. I'm assuming you like Paris?: What do you have in mind?: 10 million dollars for the painting you'll find in the envelope. If you can deliver within ten days.: The first painting deal was for 5 million pounds. Not much of an increase here, Odila.: You've got to say no.: Let me see it.: Be my guest. : Fine.: You're crazy! These guys are insane! I'm bringing you down now.: Ahh. Your young friend is getting a little scared. That's good. He'll be trying even harder. : I'll see you in ten days.: (keeps quiet) : Oh great. Do you really think it's a good idea to do business with these lunatics?: You heard what he'll pay. WE would be crazy if we didn't do it.: Which painting does he want then? It's gotta be the Mona Lisa at least.: No. I would have declined then. A portrait of George Washington.: What?: What...? He's gonna spend that kind of money on that? Cathryn. There's something not quite right about this guy.: You worry too much. Perhaps he says some strange things, but so far everything's gone well. And we're not gonna get another chance like this in the foreseeable future.: We should have a closer look at the guy.: Do that, if it'll settle your fears. : Let's just get this thing done - and then we'll all go on holiday. That's be good for Robert too.: Alright then. : That's one heap of cash.  : Cathryn hides the money again. There isn't much to do, but I remembered to send Cathryn to the back corner of Mike's room. Pizza, poster, TV. : Yuck. What's that then? It's already going mouldy.: I know that game.: I can't be doing with that stuff. The real world is more exciting. : Then I notice that Cathryn's phone has a new option... which I can't use in any of the rooms.Then I remembered we have a president to steal. : Sorry to interrupt again... Can you check something for me?: Sure. : Was it Lincoln? No... Washington, that's right.   : Great. Then I'll make my way to Robert's. See you soon, OK?: Yeah, yeah. Sure. : Map - 4, Inventory - lost count. : You know the drill. : Robert! I've got some news! We're going to do the deal of the century! Robert? What's wrong? Aren't you talking to me?: Please, don't talk to her. : drat!: Hi. What are you looking at out there?: I'm just looking at the clouds.: Aha. You're not any better, are you?: Cathryn, your father called me.: What? Where did he get your number?: He didn't say. He's worried about you. He wanted to warn me. Wanted me to talk to you.: Next thing we know, Odila was hired by her dad to teach her a life lesson. No, this game is not that amusing.: Warn? About what? Is he trying to intimidate YOU now? That's so typical.: Who are we working for right now, Cathryn?: For a good thing.: Are you sure? Who is the man you met at the London Eye? Do you know his name? : You father warned is about doing business with certain people. People who are ruthless and insane.: He should know about that... How does he know what we're doing? You didn't tell him about it did you?: No. He didn't say it in so many words, but I got the impression that he knows. He thinks we're in danger Cathryn. In great danger.: Tom. He must have spoken to Tom.: You know, Cathryn's hatred for her father could have been more understandable, if the game had explained the reason for it.: Who's Tom?: My ex-boyfriend. I... told him a little bit about it. But just hints, really. My father must have spoken to him.: You told him WHAT?: Nothing bad, really. Just that we... yeah, well, that we... redistribute.: Well bravo. And he told your father. : Considering the fact that his daughter is a thick idiot, he'd better keep at it.: Perhaps that's why you feel like you're being watched... ?: I think he's REALLY worried Cathryn. He sounded honest. We're stopping all of this. Today. Immediately.: Yay!: We... we can't do that.: Yes, we can.: I've just sealed a new deal. Ten minutes ago.: Then you'll just have to unseal it.: I can't.: Why not?... You're scared of the guy yourself.: (keeps quiet): It seems your father isn't far from the truth.: Listen. I've already spoken to Mike about it. We're going on holiday after this one. And if you want, we can stop completely. But we've gotta do this deal. I've accepted it.: What is it this time?: The Musée de Paris. It's a portrait of George Washington.: When?: We've got ten days.: (keeps quiet): (keeps quiet) : Are you with us?: (keeps quiet): Please.: You've gotta call Tom. I want to know what he told your father.: As soon as I find the right room to do it in.: Yes. I'll call him. We've gotta leave tomorrow morning. Will you manage?: I hope so.: (keeps quiet) I'm sorry Robert. I should have spoken to you all first.: Yes, you should have.: : The music actually drowns a lot of this scene but the more tags I add the higher the odds I forget to close them. : Yeah, yeah. Yeah, do that.: I... I'll be off then...: Have a good trip. : The game bugs out again, and Cathryn won't stop staring at Robert. She can however...  : Can we go to the museum?: Not now.: Loft it is. : Guys... ? Hey there! : Oh, the "Phone Tom" option is gone. After we've got a proper reason to do it. : This is the first time since the intro we do poo poo on this screen. And by "do poo poo" I mean...: Hey Mike.: Hi.: Where's Bernard?: Not here. Like always.: I don't believe it.: Had to go to town. But I've already spoken to him. How was it at McBride's?: Good. Everything's fine. He'll do it.: Hallelujah!: We've got to pack. We're leaving tomorrow morning. We'll put the plan together once we're in Paris.: Why the rush? Shouldn't we...: No, we shouldn't... And we ought to clear the loft, just in case.: Just in case? You mean, in case the cops turn up here, or what?: Better safe than sorry...: (keeps quiet): It's spreading like the plague!: Mike. You usually like to be careful about these things. So, let's be careful now, OK?: You don't need to tell ME. Perhaps you ought to have a think about whether you're careful enough.: (keeps quiet) I'm going downstairs. Got a call to make. : Oh, the Tom call migrated to this phone. : This is Cathryn.: Hey! Cathryn! Nice to hear from you. I was starting to... : Start by facing the phone.: Oh. OK... ?: Did my father call you again... ?: Why... ?: Did he or didn't he?: Yes, he did. Is that bad?: I don't know yet... What did you talk about?: Yeah well... about you, of course. You know Cathryn... he really misses you. He means it. You should give him another chance.: What did you tell him about me?: Nothing. Nothing in particular. That you're doing well. I told him you're politically active. That you're still hanging out with people from uni. That kind of thing.: A bit more precise please. Did you tell him that I'm a criminal or something?: Of course not! What makes you think that? You aren't! ... You... aren't, are you?: No. Of course I'm not.: There. You see. So what's the problem?: Nothing. Nothing at all. I just wanted to know if you'd talked.: You're not very well, are you? : Come on Cathryn. I know you. WHAT'S wrong? Don't you want to tell me?: No, Tom. I don't want to. I don't want to tell you anything right now.: (keeps quiet): gently caress you, whoever wrote this script.: Sorry. I didn't mean it like that. I'm not really feeling too good. Listen, I'll call again OK? I've got things to do today.: OK... do that. Take care of yourself, right?: You too. : Were you listening in?: Oh, I remember this line from an earlier update.: I could hear you though half the house. Is there a problem? : No. No problem.: Are you sure..? Cathryn, if we're in trouble, then perhaps Bernard and I should know about it too.: Have you packed yet?: So you don't want to talk about it? : Happy?: Hey. What's wrong, have you been arguing?: No, everything's fine. And now I've got to go and pay in the money.: I've done that already.: What?! When?: Just now. I was in town. Didn't Mike tell you?: You just took the money from my room?: Yeah. Is that so bad? I thought the sooner we got the money out of the house the better. After all, it's all incriminating evidence, isn't it?: You can't just take things from my room! Especially not money.: For thieves you're pretty petty.: Why... is it YOUR money?: Of course. Cathryn decides everything around here anyway: What we do. Where we go. Who we give the money to.: Hey guys, what do you want from me? Have I done something wrong?: How is anyone friends with Cathryn?: No, not yet. Hopefully it'll stay that way.: I though we were friends? Friends trust one another. We're friends aren't we? : Oh, look, there's a message light on the machine. It just happened out of thin air. : Hey. It's alright.: (keeps quiet): Come on Mike. I think Cathryn needs some space. : I had to brighten up one of the last shots of the fade out, because... : They're giving her some space in style. : Yep.: Good. Off we go then. : No more loft scenes!  : No! NO! gently caress off, Jack. No more monologues today.This thread needs a "Keep calm and (keeps quiet)" poster. Not counting mine, there are 11 instances of the line in this update alone. P.S. I regret to inform you that I'm finally running out of the 15 Days footage I recorded about a year ago, so I'll have to go back to playing and recording the sodding wreck instead of less monotonous and better written games, like Drakengard 1. SelenicMartian fucked around with this message at 10:55 on Jan 8, 2015 |
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Dec 5, 2014 18:19
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Right now the only person I can sympathize with is Robert, and even then I suspect that the game will make me at him like all the other characters at some point.
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Dec 5, 2014 18:51
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NGDBSS posted:Right now the only person I can sympathize with is Robert, and even then I suspect that the game will make me Robert. He's the forger, right? He seems reasonably tolerable. The security guard was alright too, in a self-pitying sort of way. Everyone else seems to be a totally charmless poo poo with some variant of borderline personality disorder.
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Dec 5, 2014 19:10
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Why does the museum security guard have a gun?SelenicMartian posted:
SelenicMartian posted:
SelenicMartian posted:
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Dec 6, 2014 03:11
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Tiggum posted:Why does the museum security guard have a gun? It's a museum containing priceless treasures. An armed security guard at night seems appropriate  .
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Dec 6, 2014 05:09
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Neddy Seagoon posted:It's a museum containing priceless treasures. An armed security guard at night seems appropriate Ah, but remember that this is England. Their police aren't typically allowed to carry firearms.
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Dec 6, 2014 05:31
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Yapping Eevee posted:Ah, but remember that this is England. Their police aren't typically allowed to carry firearms. drat straight, just special armed-response police are allowed to carry guns. Which is why we've had four rounds discharged by police in two years, or some such. No way in hell that a museum guard would be allowed any sort of weapon more effective than a heavy flashlight.
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Dec 6, 2014 19:57
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Part 9: Nine Inch Snails: When we last saw Jack, he, unfortunately, was released after getting knocked out by a heavily armed museum guard.: Twelve mortal hours of ID checks. Morons... I've gotta talk to the boss straight away. : And by "straight away" Jack means we wait until the evening of the next day. By the way, the 4th of July is never even mentioned by  in this game. The developers were too obsessed with a different July holiday.   : How are YOU doing? How was it in the custody of our British colleagues?: Oh. So they called you.: Yes indeed! I had to confirm to the gentleman that you are a colleague of ours, Jack. I was rather inclined to say no.: You could never be that mean, Chief. I know you've got a heart of gold.: That'll do. I'd like to know how the drat inquiry's going.: I'm right in the middle of it. I've checked out loads of his last contacts and I'm just checking out an employee of an art logistics company who had been in his office.: I'm so glad all of that happened off screen.: When you're not having to spend the night locked-up.: Come on Chief, don't bust my balls. That was stupid mishap, a mistake. I just left my ID in the car. : Can you confirm that?: No, I can't do that yet. I need access to a few more records.: More records?: Our colleagues here have a fabulous video surveillance system. It's called CCTV. Can you arrange for me to get access to the data banks?: No. We'll do it the other way around. You tell me from when and where you need pictures.: Oh alright. The car park of the London Modern Museum, last night, 11pm to 1am.: Pah. Whadda you want? A souvenir video of your arrest?: I just want to check something.: Hmm. Alright then. I'll let you know.: You're twenty four carat, Chief.: (sighs) You'll get an e-mail. : We do get an email from the Chief. Check out the date. It's actually the 5th, apparently, and the earlier time card lied. That... makes things even worse. You'll see.I'll try to use the only other tool we have on the PC  : Ah, yes. I forgot to open the attachment again. There's a jpg. : Dammit... I can hardly read the number plate... : We still can't use the plate search thing. The pacing is bad enough as it is, why are there Police Quest procedures in this game?: Hey Chief, it's me.: I can hear that. And? Finished watching TV?: Almost. Now I've got a few new questions.: I'm listening.: I need log-in data for the British vehicle registration plate databank.: The subtitle editing is so bad 15 Days manages to use "databank" and "data bank" five minutes apart.: Of course. : They're not especially generous with their data. Couldn't you have told me that before?: Chief. Please.: Cut the soft crap. You'll get your drat log-in, but I want a report from you before the end of the week. You've frittered away enough on hotel expenses already.: I'm sleeping in the car Chief.: You're sleeping where?: In the car.: Don't come back at me with reason. I'm trying to get all angry here.: This little exchange got a chuckle out of me, but didn't help the overall tone of the section. We're not even half done here.: So I'll get an e-mail from you?: Yes, Goddamit.: Thanks!   : This reminds me of puzzles...: If the number plate isn't there, then it has to be a fake one. Maybe it's just been altered. : The number on the plate is not listed but there are similar ones. Probably. Here's the deal. We can click on these letters, and then click search and see this message. The actual, never revealed, rules of the puzzle are the following: 1. Mike's license plate has been altered only partially. 2. Mike could either add black lines and curves, or mask them with yellow, but never did both to the same symbol. So, all the actual letters on his plate are one or two strokes away from the fake ones. There's nothing he could have done do to X or W, L could be E, P could be B or R, R could be P, 3 could be 8. The game tells you none of that and lets you replace each letter with any on the other 25.  There is one hint, and that's the slight change in the wording when you're one character away from getting it right. But I've got 14 seconds on the timer, so that will solve itself.  : Mike Mensforth. Right, so I'll organise myself a little visit to the young fella.: Hey, Mike has a last name. : The 7th of July? Regardless of whether it was the 5th or the 6th earlier, the loft is across the river from the museum, Jack. I'm starting to see why the Chief is not so glad to hear from you.It's time to re-examine the loft all over again.  : Yeah, use this camera angle, sure. You haven't got anything closer to the door. : Mr. Mensforth! Open the door. Police! I've got a couple of things I need to ask you! drat. No one there... Oh well. I'll have to have a look myself then. : Said the man who could remember a random alphanumeric password.  : Time for the bump key(s)!  : Mr. Mensforth! This is the police! : Oh well. I'll find my way around. : There's absolutely nothing to investigate downstairs. Nothing on the answering machine. : What's this on the couch? A clue!: A photo album...: That's it? OK, let's check out the rooms. : Look at the lovely painting.: I don't understand that much about it, but that's junk.: Agreed. The books?: I don't read.: Jack is this game's writer. : And that's all about Cathryn. : There's somebody here who's definitely way too old to be living in shared accommodation.: I hate chess. : Don't diss the Belgian Miners! Check out that diploma.: Bernard Dewaele, mathematician. Graduated 1989 from the Belgian university of Leuven.: Bernard must be a pretty lovely mathematician if he's into gambling.Anyway, time for Mike's den.  : A computer freak, a geek, a couch potato. : Could this be my man... Mensforth? Hmm, I'll have a look around...: Something about Mike really gets Jack excited   : The Sonamu cabinet is now off.: Hey, that thing owes me all my small change from the seventies.: The TV is also dead.: Wow. How did the guy get the dough to pay for that?: The pizza is probably self aware by now.: Puh. A case for the forensic guys.: Puh... the poster?: Pretty depressing.: Check out Mike's action figures.: A collection of trash. : Ah-ha! Mike's left desk is interesting.: Hmm... looks like travel documents... someone has gone to Paris...: He cleared the junk off the desk and laid out the route plan. Mike's exhibitionism didn't stop here. Let's examine his PC.: Ha. A business card. At last something with a NAME on it. That'll help.: OK. Let's see what we've got here. : That's a certain Miss Winkler's business card - from 'Megabase', it's got a phone number on it.: Naturally, the phone only works in the van. Can I call the Chief?: Hold it. I need more information about this Mensforth. Otherwise the Chief will kill me. : OK, Megabase. : I wonder, if at any point any of the bastards testing this stopped and said "Hey, why do we have to stare at this expressionless mug for ten minutes?" : Jack Stern, International Police. Hello. : What can I do for you Mr. Stern?: I'm looking for a certain Mike Mensforth. Do you know him?: Yes, of course. Mr. Mensforth works for us as a freelance. Although he hasn't done anything for us in the past three weeks.: Pinched a perfectly good pen, that twit.: Do you have his cell number?: I don't know if...: Yes, yes, you don't need to worry about that. It's fine.: Oh, alright then. 01078 - 1020987. Is there... something wrong with Mr. Mensforth?: That's exactly what I'm trying to find out. Thank you very much. Good bye.  : Exciting. Well, that leaves one last chat with the Chief. I hope.: Evening Chief... sorry for calling late...: You get used to it. : Erm. They had exactly nothing to do with the Henston case.: Somehow. You got any evidence?: Nothing solid yet, but I'm sure there's some connection. I just don't know what it is yet.: Who are these people?: Well... it looks like some kind of political activist community to me. Young autonomists or the like...: Chief, I found a nerd, a climber and an middle-aged mathematician. Surely, they are a political group.: That's not enough for an arrest.: Not yet. And... unfortunately the three of them are fast. It would appear they're on their way to Paris - or they're already there. I've got a cell phone number for one of them. We can work out their exact location with that.: How did you get into their apartment?: Who said he did?: Excuse me? Sorry, the line just went.: You didn't break-in, did you?: Let's just talk about the cell phone number, OK?: Dammit, Stern. You're getting us all into deep water. So. What's the number?: Wait. It's 01078 - 1020987.: I'll put that into the locator.: You're the greatest, Chief.: And you're the greatest suck-up. You'll get an e-mail from the locating system.: Thanks Chief. Sweet dreams.: Yeah yeah. Whatever. : In front of the Musée de Paris.: Going purely by the letter dates so far, Jack did jack poo poo on the 6th. : So let's go. The system will send me updates. He's not going to get away from me. I would just love to know what the kid's up to there... : I hate you, Jack. Your entire chapter boiled down to watching a 3D dummy rotate for 15 minutes. Yep, it sure is Paris here.  So much Paris.  : So do I, but for much better reasons.1. There's no no loft babble in Paris. 2. The museum break-in is less than an hour from now. 3. We're past the half-way point, and this wreck of a plot will soon start to pull itself together in the most stupid way. : I don't. Let's go in there, get the painting and go home.: Would you stop whinging Mike!: Really. Sometimes you're like a little kid. : Not much. What's that stuff you brought with you?: They're firecrackers. I want to have a bit of fun here at least.: Don't you dare. : Bernard's a little slow. He is in his "don't you dare" animation.: National holiday? Seriously?: Of course. The 14th of July. They have a huge fireworks display. It's gonna be great.: Hmm... not a bad idea.: I agree. : I'm thinking "Will anyone face one another in this scene?": I think so. : What? What are you talking about?: Our model pupil is a bit slow on the uptake.: Ah come on. Let's go in first.: Hey! WHAT don't I understand?: Later. Come on. : That's a nice hall. There are statues of men scratching themselves, and a bunch of paintings. : Cathryn produces a blue thing.: OK. Time to check everything out. : Mike bought it that time when he wanted to start jogging.: Mike... bought it? Wow. Excuse me, I need some air...: Just a moment. I still haven't got all the cameras...: Cameras? Right. Here's one of our objectives for this section: mark all the cameras again. : The first giant portal to our right leads to this tiny cellar.: Only a pile of old stuff. : Deeper into the dump we score two cameras. For measurements Cathryn stares right into the camera while holding the timer. The game still has different replies for looking at the things and marking them.: There's another one of the things...: OK, I've seen it.: OK!: Done.: The pile of junk here has the same comment as the one on the previous screen, only it has "..." at the end instead of "." so it's completely different. : Back here I check out the paintings.: There are a few real classics here. : Further in there are more paintings.: Mainly landscapes.: Our picture is in the side room.: Let's ignore the side room and go forward. : And? What kind of lock does it have?: None at all, as far as I can see. Could be a type of automatic bulkhead. : Oh, poo poo. They might have working alarms.  And guards with bazookas.: No chance of getting in there?: I could knock. Maybe someone might open it?: You just stay right there. Have you had a look outside?: I'm looking at the outside window again.  : It looks like there's a man inside.: We've got to get him out somehow.*FIREWORKS NOISES*  : No no... it frightened me to death too. The kids are messing around with the fireworks. Can't wait for the holiday.*MORE FIREWORKS NOISES* : Oh, yeah. Something's happening up there.  : Stop that banging around immediately! You damned idiot. There are highly sensitive recording devices in here!: Oh. I see. Sorry... I... wanted...: You're sorry? You could set off an alarm in here with such a bang.: Really?: Of course you fool. We use pressure gauges here.: Ah ha, and when the pressure suddenly changes...: The whole alarm goes off!: Man, imagine being on a night shift here and holding a fart for eight hours. Five Nights at Freddy's will seem like a holiday.: So what do you do on the 14th of July? I mean... there's a huge firework display isn't there? : Now get out of here.: Isn't that dangerous?: The museum has enough other security systems. So, quiet now, OK? You are too old for this kind of child's play anyway.: You're right.: He's not very charming.: Did you hear that?: Absolutely! Very revealing. : What did you say?: Nothing. Nothing. I was just thinking out loud.: Aha. Alright. Now I need to do my rounds. Good day to you.  : Next time, more talking, and the hatching of a beautifully dumb plan.P.S. No gifs, no videos, no action. All thanks to Jack Stern.
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Dec 8, 2014 08:08
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So.... what the gently caress is the point of Jack Stern so far? I mean, has he really ACCOMPLISHED anything? His leaps of logic are also hideously brain-hurting. First, random car parked outside during the museum break-in, alright the timing is a bit odd but there's nothing else suspicious about it until he decides it's suspicious and bothers both his boss and the local authorities based on nothing so he can check the license plate. And based on that same flimsy and non-existent thread of logic, he breaks into the loft. And even if he could prove that this random car is related to the museum break-in (based on what evidence...? He didn't FIND anything other than the random dude's travel plans), how the hell does he justify it being remotely related to the Henson case. Based on that whole fat lot of nothing, he chases a random person down to Paris. Exactly what authority is he supposed to exercise here? The people that give us this logic are also supposed to give coherent puzzles. Right. On a somewhat unrelated note, his phone talking expression is starting to freaking haunt me. Edit: Btw, thanks for LPing this, it's entertaining to vicariously watch these train wrecks. Keldulas fucked around with this message at 12:09 on Dec 8, 2014 |
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Dec 8, 2014 12:06
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Given the thieves seem to work internationally instead of just in London, they could probably have salvaged Jack Stern by having him be on their trail for some time. Dude's only now gotten a lead, and off he goes . Though him going to the Loft the following morning isn't really all that bad. Dude just got out of twelve consecutive hours of being interrogated by the authorities.
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Dec 8, 2014 12:30
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Well, there's got to be an inspector hot on your heels in a heist scenario, doesn't there? Of course, he's just as much a bell-end as the other people involved, but...
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Dec 8, 2014 18:46
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Part 10: Ten Feet Under : Our museum adventure continues. In this remote area of the building we can examine the butt of the marble youth.: Sexy.: ...as well as rock-hard. Now, what about the frieze?: A really nice antique bustle.: Back to the side room we go. : Well they're not exactly short on cameras here. And you see those little holes down there near the floor? They look like laser ports to me.: And? You know what to do with them?: Well, we have a LaserDial thing on Mike's desktop.: Not at all.: Oh...: Then you're going to have to get learning.: Sure looks that way. : Mike strides off, we explore the art to the right.: Somehow I really love these huge old paintings.: What about the smaller stuff on the left?: There are a few old masters here.: Are laser ports art?: Hmm... This is where the laser beams shine. : Why the hell does a generic third-rate portrait get a Mona Lisa treatment? Anyway, stopwatch. : Voilą!: Don't get fancy, Cathryn. We still have three cameras to observe in the main hallway. : Hmm.: Hmm...: OK.: So, that's all of them.  : We can't completely leave yet for an unknown reason. : The statue is examinable, but not the cute animated ducks.: Not my cup of tea.: Right, let's go back in. : Suddenly, back in this room a script activates and forces Cathryn to walk further in.: He's gone out now. I think. : Excuse me? : The guard slides over to Cathryn.: I've always got time for a pretty young woman.: Well, I've not been here for ages... : And it's all changed so much. When was it all done?: Ah, this particular part was obviously written as a single cutscene, but some moron decided to add a dialogue "option" pausing us in the middle of the sentence.: Oh, I presume you mean the exhibition space here? It was completed in 1989. You were probably just about born at that time Mademoiselle. : : Duval. But you can call me Cedric, if you like.: Cedric, huh... OK, 15 Days, you asked for it... I can't guarantee that the following transcripts of this guy's speech will precisely follow the game's script.: I must have been seven or eight when my father brought me here. He was always very... interested in art and always out and about too. He often used to take me along and drag me into every museum with him. : Yes, probably. But like I said. It looked quite different here at that time. Much... : ... better? I know, I know. You're correct. Sadly the POISONOUS refurbishment is awful. Those Philistines made our museum look like a POISONOUS subway station.: No, it's really not all that bad. It's just er, modern.: It's a gloomy bunker. You know what all the POISONOUS Parisians call the new vaults? The 'POISONOUS Socialists' Burial Chamber'. The pig-headed Mitterrand built himself a mausoleum here.: Oh, I can see you're a real fan.: I've worked here for 30 years. And for ten of them I've had to endure the POISONOUS sound of pneumatic drills. When they were excavating the foundations, POISONOUS water came flooding in from the Seine side. And then a digger fell in when they broke into an unknown section of the catacombs. It was a disaster, simple as that...  : I thought that the catacombs were on the other side of the Siene.: That's what the POISONOUS engineers thought too. But the network of passages is amazing. Nobody in Paris really knows exactly where there's a POISONOUS tunnel and where not.: Interesting.: : Yep. I heard.: This special exhibition...: Aw, this POISONOUS American rubbish? Forget the thing. It doesn't belong over here.: No? Why not then?: A museum is a place for art, not for politics.  : The exhibition is supposed to enhance POISONOUS Franco-American friendship. You know that? Right on our anniversary. : So how long's the exhibition going to be here for? : None of the American characters in the game give a poo poo about it.: An it's staying here until 14th July, our national day of POISONOUS celebration. : Oh drat. WATCH OUT! I have to get back to the security room. Time flies when you're chatting with a pretty girl...: : Mike, don't poke holes in your own game's writing.: Right then, enjoy yourself little POISONOUS lady.: Thank you, I have already. It was very er, enlightening.: Guys? I'm coming to the van now.: And this is the point when I stopped playing this game last September. Let's continue with fresh footage. : So, now we know, huh?: I've changed my mind. I do like it here after all. Let's live here. And ask that old geezer if he wants to join us. : That was a French nationalist Mike.: No, that was the usual Mike.: Arrh rubbish. You shouldn't be so bitter. I'll go in and ask him.: Could you do a bit of research for us first?: About what?: Weren't you listening just now?: Yea, sure. And?: (keeps quiet): (keeps quiet): What?: We're waiting.  : drat. I picked a break point right before a searching section... : Any hints, guys?OK, it's not Paris...  Not July, not celebration...  Not Bastille, not fireworks...  Bingo! I mean, Catacombs!  : Catacombs, Mike. Not Battleship.: Whoa, that was difficult. : So?: Rue Antoinette! That's the main entrance. Guided tours daily, on the hour. And? What we you say?: Oh great, the subs gently caress up basic grammar now.: Let's drive.: We say: "Thank you Mike.": We say: "Shut your gob, Mike." : Looks pretty much like a tourist trap. How are we going to do this?: I'll go in first and take a look around.: Don't get yourself lost.: Are you on the radio?: Always.: OK. See you in a minute. : Not much to see apart from the 25 Euro price tag on the chalk board, the water, and the ticket booth.: Ridiculous. These prices.: Pah. Looks wonderful... but stinks to high heaven.: One adult. : You're 15 Euros short, Madame. The evening tariff is 40 Euros. Merci bien. : I casually looked at the map and discovered that at this point all of Paris is Loft, even the locations. Bugger. : We've got the ticket and the tourist map, but only the map is interactive.: Let's see if I can work out how to use it.: Cathryn goes in. : Everything's perfectly finished here. I hope the connection holds up... : If you ever get out of there at all... : It's either go deeper or look at this.: They buried the plague victims here, because the cemeteries were all full. : Further in there's dem bones. I can't hear anything in this location because there's lovely guitar music and a constant hum like an 18-lane motorway runs right above the place.: A wall of skulls. Grisly.: No, they're human. : We're here.: I'm now in the passages. It's really creepy down here... : There are some barriers here. It's totally dark beyond them.: Can you get through? Can you go on?: You don't know what it looks like here, Bernard. : You can lose yourself completely down here.: On Ryzoom it said that the network of passages was 300 km long. Mmm... Could take a bit longer.: What can you see in the passages?: I already said: totally black. Hold on... : It's light enough. : Fine, I'll do it on this screen.The game pauses for a second (and might crash) every time you turn on the torch.  : The square-shaped light spot follows the cursor, and then we see a graffiti.: OK, with the torch it's just about alright. Endless galleries and passages. We need a map... : Cathryn turns the torch off.: Yeah. The freaks aren't bothered about a couple of barriers. Just you.: I have no desire to get myself lost down here. Without a map you can't do anything.: So what kind of graffiti is it? Can you read anything?: Hmm... Hang on...: Cathryn automatically reaches for the torch again. : 'Club Electronique', I think...: Hmm... Sounds like a disco, or something.: Disco? A club is completely different from a disco.  : You know: black and white TV, telex machines, your heyday...: Guys..? I don't want to disturb you, but...: Bernard doesn't know what a club is. We'll have to dump him Cathryn.  : And immediately the cutscene walk ends, and Cathryn stops, letting me click the stairs and go up. Gameplay! : We have to get a map from somewhere. The fold-out tourist thing isn't much use. Mike. That's your job.: Sure.: Maybe we ought to check out this disco? : I know. Come on then. Let's go. : The guys obviously organise illegal parties in the catacombs. The police have wanted to bust them a few times. : But?: They could never find them in all the passages... The cops here are no brighter than in England.: Or these boys know their way around here damned well.: Which is exactly what we need to be able to do. So where is this place?: In the quartier St. Martin.: How far is that? : OK, then let's go there.: What? We can't go in a club NOW?!: How come? : I think they open at nine.: Yeah. I know. But it's uncool to go in there at nine.: We've got you with us Mikey. We're cool an any time of the day.: Cathryn. You tell him we can't go now.: We're going.: You're so uncool. I don't believe it. I can never be seen in Paris again. Best for you to drop me at the corner and I'll turn myself in.: Don't joke about stuff like that... The cops are the last thing we need right now.  : Ah. It's Jack. Go away, Jack. OK, look at the statue and then go.: I'm more of a US Cavalry man myself.   : Jack. Immaculate timing - it's the middle of the night.: Actually, midnight in DC is early morning in Paris.  : I didn't invent the time difference, Chief.: Funny. The writer of 15 Days certainly did.: OK, OK. How's it going then? Have you got him?: Yeah, well. I'm in Paris.: And? Where are your suspects? : Five hours ago the guy was standing directly in front on the Musée de Paris, in the car park. And that's exactly when I am now. But he's gone. You'll have to give me his coordinates.: Hmhm... Just a minute. OK. I've got them. I'll send them to you manually - tell me if you get them.: OK. :  : There you go.: Hmm... that's in the St, Martin quarter... OK. Thanks Chief. I've gotta go. I'll be in touch.: Jack, wait... : Ah Jordan! Do I have a date?: WHAT? : In a way, yes. But you won't want it anymore.: Don't underestimate my interest in dates.:  : Amy Connelly is in jail.: Who the gently caress is Amy Connelly?: Perfect. Where?: In Washington, Jack. And she has been since last year. She was arrested in the riots during the G8 summit.: Hmm. I could've seen that from my office window.: Well. Not a bad alibi. But if you still want your date...: Hmm, I'd rather not... drat... : Hey, there was no transition blur clip!: Still doesn't seem to be a lot going on.: Not a lot? ABSOLUTELY nothing going on. Look at the time.: There's just one guy standing at the door. And he doesn't look like a visitor.: More like a murderer.: That's the doorman, isn't it?: Yeah, he's got to be. It's a freaking CLUB, Bernie. A CLUB. They don't let just anybody in.: They'll let us in.: Me perhaps, cos I'm cool.: Should I come with you?: I think you ought to stay here for now. The guy looks like trouble. : Better stay here. Mike and I'll go in.: You're way too uncool Bernie. Just look at your clothes. You look like a school teacher.: Now pay attention, Mike. I'm not going to tell you twice. This is big boys' business. And you're still in short trousers playing with an Action Man. Now get your act together. OK?: Has anyone here changed their clothes for the past week?: (silent): Good, let's get on with it!: I'll stay on the phone. : They walk right up to the dude, but the game gives me control in case I want to re-examine the van. : Hi.: Hi. : I told you. : Ah, a school teacher eh? You might want to go in for a snoop about, yes?: It's going great.: It's already open?: Sure is.: Good. Come on then Mike. : Er, why not? : Francois doesn't like snoopers. Me neither. You get it? : Wow, this icon is more on fire that the entire game so far. Sadly it's not animated, the 3D scene just rotates a little. House of Tales start to get lazy.: We're tourists.: Come on Mike. Let's go get a drink.: Hey, you're a bit slow on the uptake, aren't you? You're staying out here. And baby-face here too.: Is this place yours?: Have you got a police ID?: I'm telling you, we're not cops.  : Oh dear, oh dear.... : I'm in control again. Why? I have to continue the conversation. : OK boss, how much is it to get in?: This here is a CLUB, my friend. You need a membership card and you don't have one.: Is 50 Euros OK?: Excuse me. What did you say?: Each?: I still don't understand what you're on about.: Each, per hour.: Aaah. Now I get it.  : (sighs): I want something to drink. Don't you guys here need any dosh, or what?: 100 Euros? I can earn that in five minutes. And now you can sod off. I've got some customers coming.: Come on Bernard. Let's go back to Cathryn. : We  : 'A job for the big boys.' You're so uncool. My GRANDMA wouldn't even let you in her club.: Wait. You see that.: What?: What he's doing there. He's selling drugs on the street.: Yeah, that guy next to the bouncer spawns in a one-second fade-out the moment you click on Cathryn.: Yeah, and?: So what would the cops say about that?: What? What's that supposed to mean? ... Are you serious..? You want to... of your own free will... just... Just say it. You're having a laugh?: Cathryn. You do it. OK? We go back over there and when we're close by at the entrance...: Oh no, come on. You can't be serious.: Cathryn? : That guy is conveniently leaving.: No, the next street down is close enough.: Right, lets go then.: No! You're no doing it, Bernie. You just can't...: Now come on, don't get your knickers in a twist. Nothing's going to happen to anyone.: This game's story in a nutshell.: I'm not doing it.: OK, I'll just go on my own then.: No! Wait! Bernie. OK, I'm coming. : Bernard's head remains locked onto Cathryn, but that's hard to capture. Better look carefully at the shadows and the lights in the scene. I think that lamppost behind Cathryn went M. C. Escher. : Hey boss... How's business then?: Oi Baby-face: Your mate here... ...he fancies a bit of trouble does he?*POLICE SIREN* : Great, now with both the music and this I really can't hear anything. : Sometimes the cops turn up in time. Sometimes they don't.: Crap. You called the cops or what?: You got problems with them?: (sighs): So they're on their way here!: Yes, but they'll go away again.: They're getting closer. Dammit!: The bouncer dashes into the doorway. We fade out to no police sirens. : It's not exactly sophisticated, is it.: He could have just let us in. Let's go. : And cut. What horrors await us in the club, apart from the sound engineering?P.S.: Scaring off the bouncer, the video. 
SelenicMartian fucked around with this message at 11:34 on Jan 8, 2015 |
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Dec 9, 2014 17:30
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This... is nonsense. This whole game... is nonsense. I... Words... Fail...
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Dec 9, 2014 20:56
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Have any of you been to Paris and seen the catacombs?
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Dec 10, 2014 00:30
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Mraagvpeine posted:Have any of you been to Paris and seen the catacombs? Does Deus Ex count?
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Dec 10, 2014 00:32
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Part 11: Dial the Stupid to Eleven : Yeah, that's a decent plot summary for the previous episode.: Of course.: But it wasn't cool. Now you can let me speak, OK? : That must be this Francois. Now pay attention and just see how well I get on with the guy. I'm quite relaxed. In ten minutes time, that guy and me will be best mates, OK?: OK, I'm paying attention.: : This is a perfect time to mention that the disco has loud music in it.: Whoa. Don't make me jump like that.: You didn't jump.: I think you're quite relaxed.: Yes I am. So what do you want?: And this is where the music kicks up a notch, and I barely hear Mike's or anyone else's normal voice.: I just wanted to say: Don't mess up.: You guys are really great, you know. : Ah, exploration. This hole has more exciting stuff to examine than the Catacombs. Such as the "comfy armchair" on the right.: Not a soul here. We are so uncool.: Are the beer taps cool?: That's stuff's not nice without Coke.: The Espresso machine behind the barman's butt?: Pure caffeine. My thing exactly.: As someone who can doze off after a cup of coffee, I'm always amused by people's worship of this substance. : There's a thing here too.: Not my thing.: Well, after finding out about Mike's things let's go chat us up a Frenchman. : This screen exists specifically for this conversation. One character is barely in the shot, the other has his forehead as the centrepiece. At least he blinks. : Oh, dear...: Hey man. How's things? : What you say?: Er yeah. How's it hanging. Everything cool? Great club you've got here. We, er... We're from London. You know. London, UK. Massive club scene and all that. But your place here, it's banging, man.: London is a shithole. : Bernard's had enough of that and is coming to the rescue. : Great, now I've got another scalp-only character in the shot.: ... I think it's well kinda cool. If well, maybe not quite as cool as here. Man! : This is getting good!: Hmm... well...: Hey! Who let you two clowns in here?: The door was open.: Where's Gerard?: Gone to the loo. Seemed to be a bit urgent. Can you get a drink here, or is everything just for decoration? : Is that emotion on his face or just bad model rigging? : Minor brightness adjustment reveals more details. : Never again.: We'd like two beers, please. : OK! Sorry, for a moment there, I thought you guys were totally uncool. Cops or whatever.: No, no. My pal Mike here is totally OK. You just have to ignore his cool teen-style bullshit. Then he's great.: Gotcha. : I swear, the loving music is getting louder.  : Nice disco you got here.: Disco? Cool... Only you're here a bit too early. Later on, in three or four hours, it'll be mobbed.: We'll be in bed by then.: Yeah. Me too. Bertrand carries on for me. We need our sleep at our age.This has to be a bad dream. : How long have you been doing this here?: Five years? Six? I've built the whole thing up myself.  : How come? You were in jail?: No, no, for chrissakes. Not here, anyway. (Pauses): Thanks for telling me, game. I can't even hear when they start and stop talking.: The building was a refugee centre. Asylum-seekers. There was a real riot when it got to be full. The locals didn't want a house full of blacks round the corner from them.: Hmm... Yeah, it's the same back home.: Well, they got rid of most of us at the time.: And you?: I was allowed to stay. There was still a war going on in Surinawa.: Surinawa? That's where you come from?: From Kalingi. The most beautiful town in the world. Well it was back then.: How you get out?: With all my limbs still attached, luckily for me. I got on one of the last boats. Just a barge. Maybe licensed for 100 passengers. There were 650 of us... 245 of them never finished the trip.: Oh god. : The barman is really enjoying that paper. It's called "Newstime".: I think I saw that in the news. : Um, guys, the catacombs?: What's he called, that dictator?: Elengi. Raila Elengi. When the massacre took place, the cowardly rat was already on his way to the Pacific. He bought himself an island there. When the western alliance came in, he was already sitting on his yacht. But his orders were still being carried out. All refugees were to be killed by the government troops. The old Surinawa was supposed to die in battle. Nothing to be left to fall into enemy hands.: And the government troops did that? Those were their own countrymen. Their families.: They spared no one. They ripped the bandages off the children that had been taken care of by the western troops, so they bled to death. : The horror. The horror. I'm talking about the audio, and the "governmnet" in the subtitles.: Why not, when they'd already lost everything?: He did not want them to. And they followed him... to the death.: How come he had so much power over them?: He promised them revenge. Revenge for the colonial period. For the rape of Africa.: Yeah, well you can't maintain a state like that.: Elengi could. And he was willing to destroy it all, when he failed. To him it wasn't about people. It was about an idea.: That's not an idea. It's madness. Nothing more.: Of course! That's why I got out. I didn't want to die for the ideals of a madman.: And you've survived.: Well, I'm not dead. It's not the same thing.: No, maybe not!: (silent): You might be wondering, what the gently caress does this little story have to do with the plot. Yes. : At last!: We... We heard your club puts on parties in the catacombs.: Heard? Where?: Is that not right?: Depends who told you.: I get it. My unusually quiet friend here found out. Research...: And we were in the catacombs this afternoon and we saw some graffiti.: OK, accepted. Maybe we do. Why d'you want to know?: Let's say, we just want to go for a bit of a wander about in the catacombs. : What gives you that idea?: Then I'm happy...: Yeah, the publically available maps are a bit Mickey-mouse. And we thought that...: Aha, You thought : We're getting closer!: You could help us?: Hmm... Put it this way: There is a map.: But?: There's no way I can let it out of my hands. Betrand and the guys worked on if for months. They took the old maps the Nazis made and referenced them with the ones from the Resistance. And then of course they walked around down there themselves, with a torch and a compass.: It must be tough employing both a Bertrand and a Betrand.: Just a look at the map would be enough for us.: Oh, I don't know... You could get up to quite a bit of mischief with that map. There are old arms dumps from the Resistance down there. You could blow yourselves up. And when something caves in down there, the houses up here start wobbling.: Don't worry about any of that. We're only looking for... a few routes.: Where to then, if I might ask?: Business secret. Come on, let's have a look at it.: Oh, OK. : Francois?!: What.: Have they gone? : The police! The cops outside... have they gone now? : Sure! : I'm not paying you to sit on the can, you skiver.: The pigs are up there. Just go and see if they're gone.: You got your pills with you again? I've told you, stop selling that crap in you're working for me. Go on. Flush them away.: Will you just go take a look? : And the bouncer flushes. I can tell, because the flush sound is louder than the music.: All of 'em.*ANOTHER FLUSH* : Happy?  : This is not Francois talking. It's Cathryn. They use almost the same subtitle colour.: Gerard? There's nobody up there.: You sure?: Yes, quite sure, And now you get your rear end up there where you supposed to be working. : I'm in control of one of those guys. There's the plan on the desk.: So, that's the map of the catacombs.: Apparently, I control Mike. : My phone. Runs on ScummVM.: I'm sorry... what? : HOW? Anyway, let's use the phone on the map.: Then I want to take a quick photo as a memento...  : That's not how you photograph documents.Then Mike sits down and there's a 6-8 second pause during which absolutely nothing happens. Then we fade to black.  : We already had the pleasure.: So, you've seen what you wanted to, I take it. Well I hope you've got good memories. You're going to get lost otherwise.: We'll be alright.: OK, can we go now? : You're not really the talkative type, eh?: Let's go, Bernie. : Don't do anything silly guys.: Yeah, stay cool man! : They walk up to the door and stop to let me click on it. : Calm down, man. Just be glad you've got a decent boss.: Hang on. What've you been up to there, you dirty snoopers?: Ask your boss.: And better keep your hands off the pills in the future. They seem to have something of a laxative effect.: (silent): Where did (keeps quiet) go? Did they : Come on Mike. We need to go. I'd rather not be here if they come back again. : And the scene just ends. : We'd better get out of here.: Mike, you did photograph the map, didn't you? : Our Mike's gone rather quiet all of a sudden, hasn't he? But it's also the pits, being so uncool.: Idiot.: Heck, you two really can't be left on your own, can you? Come on then! Let's go and look at these catacombs again. This time WITH a map!  : Oh, Jack has almost caught up with our "heroes". He's about to become relevant to the "plot". But first he'll examine the panorama and the club.: Wonderful...: Club Electronique... The address is right.: What address? Wasn't Jack following Mike's phone location? Anyway, let's talk to Gerard. : So, what have we got here. Hey, you! : You what?: No offence. They're definitely all real muscles. : As if.. No... I'm er, just looking for a few friends of mine.: Friends?: Yes, a little nerd with a black van. Maybe got some company with him. They in there?: So they're your friends then?: Yeah, sure. We're the very best of pals. Are they inside? Hey, can I go have a quick look? : Aha. And what would that be?  : Holy poo poo, Gerard is awesome!    : Again! Again!    : Best. Jack's. Section. Ever. ... So, why is he in the story anyway?Here's the video of the entire exchange    : You got your torch?: Of course. Oh, wait.: Don't tell me they've put an item check after the first section where we had to use it. : Right then. Let's go! : And it's afternoon already. : In this room we can now examine the bowl (from the Crypt of the Sepulchral Lamp) and the plaque.: Looks like a sacrificial bowl.: This is where it says which cemetery the bones came from.  : Hold it. The skulls in the walls look oversized. Let's see... The Internet suggests that the tunnel ceilings are less that 2m high. Don't me the the catacombs are upscaled to avoid animating leaning... Although, that's exactly what lazy hacks would do. : The photo of the catacombs map is brilliant. Now we've just got to work out where the museum is. : We can't go in until we combine the tourist and the club maps for the perfect mapping experience.: Let's see if I can work out how to use it. : The map is rather confusing, but where there's a will...: In we go. : Here we can examine one object.: It's empty.: Now we're inside the 15 Days catacombs puzzle, which is the only place in the entire game where the quick access to the map is convenient. : That's the map. Clicking the blue icon teleports Cathryn to the entrance here. : Pictured: Cathryn examining a terrified skull. : Here's the actual start of the maze portion. As you see, we have a compass. Made by people who had never used a compass in their lives. I assume, that the arrow points north, but no one bothers to rotate the compass' dial to match it.The actual way to navigate this shithole is to note from which exit Cathryn enters the room and plan her moves relative to her facing. To help navigation the map has markers for some very distinctive terrain features.  Like the ladder...  ...the wheel...  ...or the dead rat. Yeah. Probably a marker from the Nazis' map. Good job, Francois & Co. The only sane method to get anywhere is to assume Cathryn faces north at the entrance of the maze and plan the trip as a sequence of "forward", "left" and "right". The one thing that might throw you off is that while the map shows all the tunnels it does not show all the exits.   It's a corner on the map and a 3-way crossing on location. The way ahead will probably warp you into a different room. I don't care enough to test this rubbish. Anyway, our goals are the obviously marked museum in the top left and the rectangle in the top right.  : Here's the approach to the museum. The dungeon is amazingly well-lit.  : We can warp to the museum now, but there's no reason to do so. I restart and head for the other place. : And save, because this is where the game loves to crash when the you use the torch.  : The oddly-shaped light follows the cursor, and I'm immediately reminded of Nocturne which combined Resident Evil-style cameras with 3D aiming, flashlight and laser sight effects. You could also dual-wield pistols and fire at two different targets simultaneously. : Come to think of it, how the gently caress does one make a square-shaped light cone? This has to be non-default behaviour in pretty much any engine, right? : Brill!: I wonder if this decades-old hideout has electricity. Like the rest of this place does. : OK, first let's get out of here. : Here's the plan: : Yes, we're waiting for the last day of the exhibition when people might be packing up the painting for transportation.: We go in and we split up. I go as far as the rock wall and drill the holes. Bernard puts together a couple of explosive charges in the Resistance camp. : Mike parks himself with the van in front of the museum, logs into the security system and watches the fireworks. Then we wait for the climax of the firework display, the pressure sensors are being turned off for that. When it gets to that point Mike gives us the signal and we set off the charges. I go in and sneak up to the exhibition space. : In the meantime, I swap over the pictures and whizz off straight back into the catacombs. Then I meet you two guys back outside the catacombs' exit and then off we go. And that's it. Any questions?  : I could...: I'm doing that.: Aha. Mmh, still got to go 'into town'?: OK Bernard, then you do it. You've still got an appointment in London anyway. Haven't you?: He has. With who then?: With his past.: Aha. : Come on. : If you thought the plan was stupid, wait till you see it in action.P.S.: The 4-minute video of flushing at the disco, horrid sound, me struggling with the inventory, and what it says on the tin. 
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Dec 10, 2014 20:52
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Will Jack ever do anything?
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Dec 10, 2014 21:46
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Hitlers Gay Secret posted:Will Jack ever do anything? Get beaten up again, I hope. Ideally all four of our loathesome main characters will get caught up in a massive brawl and have the crap kicked out of them.
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Dec 11, 2014 00:44
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Honestly, the plan doesn't seem THAT bad to me. Then again, maybe the Jack sections have bludgeoned me with enough relentless stupid that I don't notice what's wrong with the plan.
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Dec 11, 2014 01:14
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Wait, they're using grenades from the 1940's?! Stored in what're most likely damp conditions and probably unstable as all hell after all this time, if they're not outright useless? .
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Dec 11, 2014 04:12
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Neddy Seagoon posted:Wait, they're using grenades from the 1940's?! Stored in what're most likely damp conditions and probably unstable as all hell after all this time, if they're not outright useless?
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Dec 11, 2014 08:01
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What are the odds the grenades will miss-fire, killing our
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Dec 11, 2014 09:08
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berryjon posted:What are the odds the grenades will miss-fire, killing our Not good enough, I fear.
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Dec 11, 2014 15:33
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We're only a few posts away from the next page. Here's a conversation piece/nightmare fuel. She's not even smiling here, by the way.
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Dec 12, 2014 15:02
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Filler post to help! And that pic isn't so scary.
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Dec 12, 2014 17:54
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Mraagvpeine posted:And that pic isn't so scary.
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Dec 12, 2014 18:19
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| # ? May 11, 2024 11:40 |
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Ah... Almost there. We have a museum to blow up.
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Dec 12, 2014 18:59
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