You blink to clear the haze of sleep out of your eyes just as the door clicks shut behind you. You are hit with the sudden revelation that what you have just boarded is several steps removed from the usual commuter train. Your first hint is how well looked after it is, the polished wood panelling and brass inlays entirely devoid of filth and carved obscenities. The wood panelling and brass inlays are your second clue. After that, your revelations start coming quicker. The tiny entrance chamber seems to be lit only by moonlight, despite the presence of what appears to be a lit oil lantern. Somehow, despite having a visible flame, it emits no light whatsoever.
Looking beyond the unlighting lantern out the window on the other side, the view that speeds past is nothing you recognise. The train seems to be travelling along a cliff's edge next to a massive, moonlit lake, surrounded by sharp, grey rocks.
Soon, you arrive at the next step of that train of thought. You'll probably have to get off at the next station and wait for the next train. Are there even any more trains running this late? You hope that your train ticket covers this accidental ride, or else this will be even more frustrating.
While you're thinking to yourself, a figure steps in. The figure is tall, dressed in the distinctive waistcoat and shako of a turn of the century train conductor. The figure's features are obscured by smoke, evidently coming from the pipe you can barely see the outline of around mouth-level. He looks at you, or at least faces you considering the lack of visible eyes. He speaks with a raspy tone and an accent befitting a British newscaster, "Well, well, what do we have here? I was wondering when we'd be picking up our next passenger."
"I think I got on the wrong train, actually." You reply, "Can you tell me what the next stop is? I need to get off."
The man laughs. "The wrong train? Nonsense, my dear, I believe you'll find that you are exactly where you are intended to be. Come along now, we have a compartment free for someone just like you if you're willing to take it." Before you have a moment to consider, you are swept along through a green-carpeted corridor. "I am so glad you came here," says the Conductor, "We were in dreadful need of some new blood."
After that odd introduction, the man (it is a man, you can hear it from his voice) deposits you by a door with a fogged glass window, the numbers 3-3 in brass affixed to the nameplate. Before the man leaves, your manners return and you manage to mutter out a question about the smoke-covered man's name. "Far from important," He responds, "I am the Conductor. Nothing more, nothing less."
After that, you are alone in the train car. There are three rooms, all numbered. Your suite, after you pluck up the courage to enter, seems entirely normal. A bed, a bench, and a table. It's all rather more ostentatious than you're used to, but you've been in similar rooms on the myriad occasions plane tickets have been too expensive. The only things out of place here are the bag in the hand luggage railing and the pair of letters on the table. You study both letters. One is an unadorned folded piece of paper, no signature, addressed simply to 'The next one.' The other is set in a vellum envelope, sealed with yellow wax, and addressed to 'Marie Rodier."
The creeping dread that had been building within you finally manages to make itself known against the backdrop of tiredness and confusion. You have the awful suspicion that you have just been kidnapped. Taking the unadorned note, you collapse against the door to your compartment. The lanterns in here seem to be working well enough at least. Your publisher liked playing the deluminating light trick on you your first few meetings before you got the trick of getting past it. It just involved giving the light something it wants in return. You have the suspicion there will be a great deal of oil changing in your future.
The folded note 'to the next one' is written in scratchy fountain pen and takes you a moment to parse.
"To the next one," it begins, "I'm sorry."
"I couldn't keep up the balancing act, and now He's going to take it out on the both of us. He's like a spoiled child or a bored rich man. If a toy stops entertaining Him, He picks up a new one."
This is followed by several lines crossed out. "Keeping Him entertained is important." That's underlined, "But you have to be unpredictable. Narrative sense is more important than logical sense here, so don't worry too much about that." A new line, still crossed out, "Watch out for Robert," then "You can't avoid playing His game." "You have to avoid playing by His rules." "Just try not to let him hurt anyone else."
Finally, the author seems to give up trying to explain this. The last part of the letter is no longer crossed out and simply says "There's going to be a scream soon. Follow it, play along until the others leave, then talk to me."
The scream arrives on cue, a loud, shrill sound echoing throughout the car. You can tell it's coming from two compartments down but have no doubt it will be heard throughout the rest of the train.
What do you do?
[] Make your way to the source of the scream.
[] Quickly
[] Cautiously
[] Hide in your compartment.
[] Read the other letter
[] Move in the opposite direction from the scream
[] Other?
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I promise posts will get a bit longer in the future, but we're still setting things up here.
As for the promised explanation of stats, here they are. Guile, Ham, Action, and Sleuth are the rolled stats. Whenever Marie or another PC is in a situation with a significant and interesting risk of failure, 4D3 will be rolled and bonuses or maluses will be applied according to these stats, as well as any other circumstances. The target number you'll want to try to hit is 9 on most occasions.
Guile is a representation of, well, guile. It's the stat used for hiding and sneaking, as well as other acts of subterfuge. Because this is a socially focussed game, this is also the stat used for lying or concealing.
Action is the physical stat. It's the simplest of the bunch and is rolled to perform feats of derring do. Running, jumping, lifting, and punching all fall under Action.
Sleuth represents general mental acuity but is more importantly associated with figuring things out. Sleuth is the stat you roll when you want to start actually detectiving, discovering truths about the nature of the Midnight Transarcadian and how to escape it, and to learn when people are lying to you.
Finally, Ham is the stat rolled to be unmissable. It's the closest thing there is in Pleasant Ride to a universal social stat, but refers specifically to social actions without a great deal of subtlety. If you want to appear friendly, put on a brave face, or cause a distraction, you roll ham.
Next we have Sanity. It's not a meter I particularly care for, but it gets the job done. Whenever you encounter something traumatising or horrifying, which you will be doing a lot, you will take Xd10 Sanity damage, where 'X' is the 'magnitude' of that attack. You will notice that Marie has the Occultist trait, which reduces Sanity loss from 'unnatural' sources. She will be making extensive use of this ability. Sanity is healed through Relationships, of which you currently have none. Losing all 100 Sanity results in an additional negative trait being added to the character and Sanity being reset. When Sanity reaches 0 for the third time, the character becomes too traumatised to be entertaining to the as-of-yet unseen entity behind this turn of events and thus a new character will have to be created.
Finally, there is an unseen stat called 'Patience', measuring how fed up your new master is with your shenanigans. If it is kept high, there will be some bonuses given to certain actions, if it runs out, you will have to create a new character. Patience can be regained by doing things your new master finds interesting and entertaining and lost by going against His wishes. You will be alerted of low Patience by the train becoming more uncooperative.
Voting will close Sunday at 8PM AEST, vote in the usual way. In the meantime, what sort of books has Marie written? What are her best-known titles? What genres work best for her? Whatever she's written, she seems to be selling quite well. She has her publisher to thank for that, of course.