» TEST DRIVE #001

[reveriemod]

TEST DRIVE #001

( 0 0 1 ) » WAKE UP

Were you asleep or were you unconscious? It doesn't matter: when you come to, there's an odd taste in your mouth and there's a low-level mechanical hum in the air. Your head hurts and you feel nauseous. You aren't anywhere you know: everything around you is metal, from the floor you lie on all the way to the ceiling. You are dressed in a jumpsuit you definitely weren't wearing before.

"We tried to save the world. I think— I think we did the opposite."

The message repeats on a loop. If you look for its source, you find a comms device on the floor next to you. The logo on its wallpaper says REVERIE TERMINAL. Upon closer inspection, you find the same logo on your jumpsuit.

Welcome to your new home. What choice do you have but to explore your surroundings?

( 0 0 1 . 1 ) » WAKE UP WHERE?

When you wake up, you find that you're not alone. But more importantly, you find that you're in a closet. An empty closet, bar you and your new companion. It's small, cramped, and there is no door that you can see. The ceiling is low, there is barely any lights, only some coming from the tiny flashlight clipped to your suit's shoulder. You cannot be sure that there is any air coming in to the room.

Are these grooves in the wall supposed to mean something?

( 0 0 2 ) » OBSERVATION DECK

There were no windows in the corridor you woke up in and no windows in any of the crew quarters you might have checked for occupants — but there are plenty of windows on the uppermost level of the station, deck 1. In fact, there are windows from floor to ceiling all along the circumference of the station's circular deck, and it's possible to walk along it all. What it shows is a strange solar system you've never seen before and a planet that might resemble one you know, but certainly isn't the same.

You're in space. You don't know where you are. Neither does anyone else.

( 0 0 3 ) » BAR

On deck 3, you find the bar. Tucked away from the crew quarters, it's dimly lit, there are bar stools thrown down on the floor and what looks like some very old drink spills, crusty and dark against the bar top. But there is alcohol here, or at least, what you think is alcohol, in bottles with faded labels, most of them indecipherable. Take a drink, get drunk, start a fight, or start a party? You're stuck on this station, might as well make the most of it, right?

( 0 0 3 . 1 ) » VIRTUAL

But the alcohol isn't even the most interesting part of your discovery (depending on who you are, of course). No, what catches your interest is a second, smaller room off from the main bar room, which looks to be some kind of arcade. There are a few VR sets lined up against one of the walls, and surely, they can't be working, right? Nothing is on this rust bucket. And yet, if you put it on, the display comes to life.

It's a pretty simple HUD, and when you move around in reality, you move around in the virtual world you've just entered. It's a luxurious world, full of brightly, saturated colors, making it just a little obvious that it isn't real. Ahead, there is a jungle, a temple, and a city. You can play around, slay some monsters, have some fun, but you can feel yourself growing hot, like the VR helmet is burning your forehead.

And when you try to take it off, you find that you can't. The HUD glitches, the sound cuts off to a blaring alarm, and an error message appears, in glowing, blinking red letters: FINISH THE MISSION. Will you, despite not knowing what the mission even is, or will you fight to get the helmet off?

( 0 0 4 ) » MALFUNCTIONS

(cw: body horror, bodily functions, gore, blood, death)

The fabricators function well enough, until they don't. One day, one moment, everything's all right — the food doesn't generally taste amazing and sometimes downright awful, but it's nourishing and filling no matter what your dietary needs — and the next, things go a little haywire.

In short, the fabricators are malfunctioning.

Oh, they're still producing food that looks and tastes much the same as before, but now there are some unexpected side effects.

NB: Characters may experience any of the following side effects: nausea ranging from slight to debilitating, the sensation of being happily and affectionately — but not overwhelmingly — drunk, bone-deep exhaustion and weariness that makes it hard to move, or repeated hallucinations of loved ones screaming for help, reaching out to characters and leading them down abandoned corridors or being killed by unseen forces.

The extent to which characters are affected is up to players, as is whether you'd prefer to play this more lightheartedly or tackling more serious themes. If the latter, please provide warnings in subject lines where necessary.

( 0 0 5 ) » NETWORK

The comms device you found next to you when waking up connects to a station-wide network, REVERIE NET. You have the option to post video, voice or text messages.

What will you share?

( 0 0 5 . 1 ) » NETWORK USERNAME

When you first turn on your communication device, it requests for you to pick a username to identify you on the network. It can be anything you want. However, as you try to input a username in your wristband to access the network, you get the following message, along with a small, but irritating, warming sound:

this username is already in use.

What does this mean? Is there other people around? Were there other people around?

( 0 0 6 ) » WILDCARD

The station features a variety of locations, from sleeping quarters free for the claiming to a dirty swimming pool and a bar that still holds alcohol (though some of the bottles seem to have been opened a while ago).

Go wild, but don't wreck the place. It's your home for the foreseeable future, after all.

Comments

[purpose]

[ Her eyes narrow briefly at his muttering, but her exhaustion squashes any indignation that wants to rise in response. ]

And they chose to kidnap the both of us?

[ It seems nonsensical, but there is a wariness to the question she poses — almost cautious. It isn't the First Order, then, and she wouldn't suspect the Resistance of attempting such a thing, but the implication that someone knows of their familiarity with one another as more than two opposing Force-users is worrying. ]

No one knows about the connection we shared. They'd have no reason.

[ Shared, past tense as a reminder to herself. Ben Solo hadn't returned with her, and wouldn't; distancing herself from whatever camaraderie they had shared is its own self-preservation technique. ]

[warfares]

Leaving aside the fact that whatever survived the Empire's fall was absorbed into the First Order years agoㅡ [ he waves a hand, more of a general encompassing gesture than drawing attention to anything specific, ] if they were responsible, I doubt they would risk our regaining consciousness so quickly.

[ "Quickly" being relative in this case. He still hadn't managed to figure out just how much time had elapsed and whether or not it was in any way relevant. ]

Mind you, I'd like to think they would have at least stuck me in a cell over the glorified closet I woke up in.

[purpose]

I wasn't talking about the Empire specifically, Ben. I'm not an idiot.

[ And her frustration has shortened her patience, predictably and understandably, to make that rebuttal terse and clipped — exasperated and exhausted around its jagged edges. Her education may be lacking, but she's heard enough snippets and combed through enough databases not to be so sheltered as to believe the Empire. Thinking her that ignorant teeters on insulting.

Straightening with a resolve that indicates she's made up her mind, she looks to the stars and then his reflection, and takes an unbalanced step backward. ]

Good luck figuring it out, then.

[warfares]

[ Hands move to steady ㅡ possibly restrain? ㅡ her, and his attention shifts from the stars to her completely now. ]

Don't, [ he says finally, not quite a plea but there is something that borders on concern creeping in at the edges, ] I apologize. That was uncalled for.

[purpose]

Don't —

[ She isn't proud of the panicked garble her voice becomes, straining, as his gloves slip and lock against her skin. After what's occurred between them, it feels similar to being burned, a scathing reminder of all that's been destroyed by his choice.

Rey reacts as if she has been scorched by trying to wrench herself away, eyebrows knitted in bewilderment (Kylo Ren apologizing is a phenomenon she never thought she'd witness, first and foremost), running the gamut between confused, indignant, and a fearful undercurrent.

Not apprehension of him, but the circumstances set between them, and the diverging paths that must be taken. ]

Don't do this, [ she says, more solidly, making it clear she's referring to more than touching her. ]

[warfares]

Don't do what? [ he asks in that level tone that would veil his obstinacy nicely if she didn't know him at all.

His fingers dig into the heavy fabric of the jumpsuit, not enough to hurt (not yet) but enough to make it difficult for her to pull away. ]

Don't do what, Rey. [ he presses, daring her to say it. ]

[purpose]

[ Refusing to rise to his goading, the clear provocation, is a matter of pride. She won't abide by his terms, regardless to whether it appears to be petty, as if to remind him he doesn't control her.

Her teeth grit, flashing like a predatory animal prepared to strike beneath the overhang of her scowl: a warning in its own right. ]

Just get it over with already.

[ The implication being that he means to harm her, enact revenge for her rejection of his offer, for making the choice she had. In a manner of speaking, it's an insult designed to crawl beneath the skin by suggesting he's a monster, reverting to base instinct, itching to cause pain. ]