Survival
Follow the man who jumped from the building. If I catch him, land on his shoulder, become a black widow, and bite him. My poison will end his life. Then, return to bird form and flee back towards the building.
You fly down, into the small crater the man has made when he fell, the dust around you making it harder to see and breathe.
He fell through the relatively thin layer of asphalt and concrete and into some sort of sewage pipe, a small tunnel barely large enough to fit a small man standing up. His impact has broken many of the smaller pipes that were attached to the tunnel walls, one of which (a thin pipe with many wires sticking out of it) has impaled his right shoulder. Luckily for him, it's probably just telephone wires, otherwise he'd be very dead right now.
You land on the man's shoulder and transform into a spider.
And then immediately loose consciousness due to tiredness and hunger.
Survival
Ow. Climb back out, and find a doctor to fix me up
You try to move. You can't turn your chest. That thing going through it is stopping you. And one of your arms hurts whenever you use it.
You slowly raise your good hand, grab a pipe to use as a handhold and start trying to pull yourself up. You pull yourself halfway up with much difficulty. And then the screws holding the pipe break and you fall back down again, smashing your face against the floor. Not good.
Okay, one more try. This time you carefully search the wall and put your hand in a hole you find there, hoping it will be sturdier. You manage to pull yourself up and allow yourself to move freely once more, the pipe going through your shoulder causing you a few more injuries as it gets out.
Your shoulder is bleeding moderately, but at least none of your bones have been broken by the impact and the pain is starting to get a bit better now.
You're in a small hole in the ground where you punched through the street and into a small tunnel below, barely large enough to hold a human. Peeking out, you can see that you're on the street outside of the gallery, the one going around the small plaza next to it. The plaza is a very simple thing, just a small concrete circle with some benches and large concrete squares holding dirt and plants in them jutting out of it. There are a couple of burning cars next to your hole, which have been further pelted by debris from your impact. Around the plaza, there are signs of combat. Bullet holes, broken lampposts, shot up cars, fires, broken bottles, bodies with guns lying beside them... You think you can even spot where a grenade went off. Much of the bullet holes surround the entrance of the Gallery. And you notice that the top floor of the Gallery is now completely on fire, thick clouds of smoke rising above it, periodically illuminated by a light coming from behind it.
The plaza is in a very small park-like area with grass and small bushes that surrounds the Gallery. To the north of the plaza, the road leads to a relatively large street lined with small houses and stores with the roofs of some larger warehouses poking from behind some of them. You can see a similar sight to the east and west, with the difference that the road there is replaced by a small cobblestone path.
As for your more general surroundings, you (or rather your host) knows from memory that the old dysfunctional police station and coastguard station are to the west. The Corleone bridge which leads to Reinerfield is to the north-east. The centre of the island, where the largest residential, office and other important buildings reside (along with a few governmental buildings) is to the north. The Sovereign's bridge and the central tunnel leading into Downtown are further north. To the Northwest, right past the Kingdom Bay docks, is Allen Bridge, leading into Westwood. And then there's the old lighthouse in the southernmost part of the island, right behind the gallery, still shining its light into the ocean and the city.
This night is getting even darker. Wind is picking up, pushing the smoke coming out of the Gallery above you. You can see storm clouds gathering further up, their dark shapes given a soft orange glow by the lights of the city reflected on them.
Survival
Look around the place. Watch for enemies.
You can't shake the feeling that Lioraw is trying to stay as far away from you as possible.
Survival
John handed out the pistols to whoever wants them. "Right, here you go. Now let's get out of here."
Is there a back door? That's probably better. Poke around for one, but don't get separated from the group.
Bryan wanted one, so let's assume he gets one and you keep the other.
You think you saw someone in one of those small corridors, but Saevus goes right past it and says nothing.
Survival
Check the other rooms for useful items and out of the building
As the rest of the team gets out of the elevator, Lioraw leading the way, they get a better look at the other room. It's a massacre. Someone must have thrown some sort of explosive in it. The results were not good for those inside it.
You haven't taken more than a dozen of steps after exiting the elevator when-
"Stop! Don't come any closer!"
The voice comes from behind the reception desk, from whence two assault-rifle-wielding men have popped up. They are taking cover behind it, pointing their tommyguns at you. From what little you can see of their faces, they look absolutely terrified (especially about Saevus) and very willing to shoot you.
Looks like you missed something when you were checking out the room.
OOCAnother thing shared by the two missions: Everybody failing to spot their enemies.
((PS: Nice choice with the pistols. Can't go wrong with the classics.))
Well, I believe it's the most iconic non-revolver handgun of the era, at least movie-wise.
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Topic: Special People: Mechanical Syndrome (Read 1150727 times)