An art dealer is looking for some assistance. He's lost contact with one of his suppliers, and desperately needs help finding them and re-establishing his lucrative trade with the artist. He offers you a cut of the deal if you agree to look into this.
Level: 17
Start: Phillipe Gaston, Market, Madame de Pompadour
Introduction
You walk through the Market, known locally as Le Grand Marché. The stores seem to sell everything, from system-wide brands to unique products, all split within separate sections. At the center, you see floating holo-signs to help navigate shoppers around the sprawling marketplace. Visitors can stroll along and browse upon advanced equipment, then turn a corner to be dazzled by flashy artworks and eccentric fashion.
The symphony of sounds around you melds into a monotonous din, dominated by the loud store owners with their droning sales talk. Some try to promote their shops with flashy holo-banners, with a few taking a more active role, stepping through the flow of shoppers gesticulating wildly at their stores.
You come upon what looks like a newer shop with a sign hovering above the entrance stating “Engraved Goods by Gaston”. It appears under-stocked, with only one side having any actual wares, and the other covered by a single holo-screen showing looped footage of a dark sculpture. A Belter stands outside, eyeing the passing crowd while rubbing his hands together. He notices you and directs his promotional speech your way.
Phillipe Gaston: Welcome, welcome! I see you have superb taste in high culture, the items I sell here are exquisite and highly sought-after. My name is Phillipe Gaston, and I am happy to show you the finest surrealist art from this very station! Please, come closer and have a look.
- Stop and have a look at his wares.
- Move onto the adjacent store.
Move on:
You move on to the adjacent store, ignoring Phillipe completely. Your attention is drawn to a group of exiting visitors, with small devices held between their fingertips, their eyes glossing over while staring at the spinning toy.
You enter the store, called Fabian's Fidgets, and immediately spot the display of the little devices, all with different designs and colors. Your mind falters and strays while trying each one, and slowing you fall into a state of relaxed bliss, gazing all the while at the spinning toy in your hand.
You have failed the "The Art or The Artist" mission. You can retake this mission and try again.
Have a look:
You see his face light up with your interest, albeit minor.
Phillipe Gaston: Yes, come have a look, here I have some smaller pieces.
He shows you a selection of a few small rocky "sculptures" with several tiny projectors embedded inside. When looked upon at the right angle, the combination of the jagged stone edges and the light displays, forms a holo-image of a beautiful hazy landscape. Each object is under a secure glass case, with a heavy lock, highlighting their worth. He quickly moves you past them towards the large holo-screen, showing a moving view of a single sculpture. You see it is a large misshapen rock, with molten surfaces enlightened by tiny holo-beams, creating this surreal image of a familiar looking animal in glowing darkness.
Phillipe Gaston: This is my latest sale, currently on display at the Grande Galaxie Museum and Gallery in Nouveau Limoges. As soon as it was sold, the new owners sent it straight to the Museum for everyone to admire it. It is called "The Wolf by Night", created here locally by an artist called Tan Guy. My proudest moment! Collectors from as far as Sol came here, to my new art store, to acquire that "surrealist masterpiece", their words mind you, not mine! The best deal I've ever made. Too bad it might be my last.
- "I see, not what I'm looking for at the moment. Thanks."
- "Why your last?"
- "You don't make these yourself?"
Not what I'm looking for:
Me: Ah, I see. Not the type of thing I'm looking for at the moment. Thanks, but I'm going to continue browsing.
He reacts with an instant look of disappointment, that vanishes almost as quick when he spots a few other shoppers approaching, and he swiftly walks towards them. You turn to leave, following the crowds through the passageways of the immense market.
Soon you come across a small store selling a new type of synthehol drink, offering free samples inside. You squeeze through the masses, and reach the front. You see a tray of small glasses and grab several of them, turning you make your way out of the shop. As you quickly down each one after another, you notice some messaging on the glasses that you didn't see before.
Our healthy and herbal elixir, a great combination of synthehol and vital nutrients. Warning: do not drink more than one at a time, strong laxative properties. Please consult a medic for any persisting issues.
Almost at once you start to feel some pressure in your stomach. You feel like your insides are going through a blender. You look around for the bathrooms, but can't see any sign. You start to panic, carefully walking as fast as you can towards the exit, hoping you can keep yourself together until you find some privacy.
You have failed the "The Art or The Artist" mission. You can retake this mission and try again.
Why your last:
Me: Why your last? Business not going well?
Phillipe Gaston: Too well in fact! I've run out of stock! How can I call myself an art dealer if I have no bloody art to sell? And to think, I just opened this store, took a gamble on a new business, but should have secured more pieces beforehand. I'm holding those small ones too, already sold, nothing left, and haven't heard back from the source in a tenday. Unreliable, that's what these artists are like, ungrateful too! If I knew I would be in this bind, I would have tried myself with this "surrealist" stuff.
He looks to be in a slight stage of panic, his raised voice attracting furtive glances from the passing crowd. As he notices their questioning looks, he immediately calms down, going back to the practiced smile of a welcoming shop owner. Though, as he gazes back at the holo-screen, he continues in a bitter tone.
Phillipe Gaston: I thought I found the perfect set-up, playing the dealer, middle-man as they say, and making a lucrative payout. But I provide an important and essential part of the process. Do you believe artists know how to sell their wares? They're too busy dreaming of their next piece, they don't have it in them to properly value their work, scour the market for the perfect buyer, and negotiate effectively to completion. I'm a salesman, but without anything to sell, what am I?
Don't make these yourself:
Me: You don't make these yourself? I guess you're just a middle man.
Phillipe Gaston: Just a middle man you say?! I don't think you understand how important a role I play. Do you believe artists know how to sell their wares? They're too busy dreaming of their next piece, they don't have it in them to properly value their work, scour the market for the perfect buyer, and negotiate effectively to completion. This is what I offer. An important and essential part, even if I don't "make these myself" as you say.
He seems slightly offended by your statement, his raised voice attracting furtive glances from the passing crowd. As he notices their questioning looks, he immediately calms down, going back to the practiced smile of a welcoming shop owner. Though, as he gazes back at the holo-screen, he continues in a bitter tone.
Phillipe Gaston: Maybe I should have tried my hand at some of this art, then I wouldn't be in the bind I am in now. What type of art dealership can I run when I have no items to sell? And to think, I just opened this store, took a gamble on a new business, but should have secured more pieces beforehand. I'm holding those small ones too, already sold, nothing left, and haven't heard back from the source in a tenday. Unreliable, that's what these artists are like, ungrateful too!
Both paths continues:
While ranting away, he takes a small moment, as if "hit" with a sudden idea, and eyes you up with a quizzical look.
Phillipe Gaston: Maybe you could help me with this? What do you say?
- "Help with what exactly?"
- "I see, not what I'm looking for at the moment. Thanks."
- "What's in it for me?"
With what:
Me: Help with what exactly? I'm guessing you want me to look for this artist of yours?
What's in it for me:
Me: What's in it for me? You offering me a deal?
Either choice continues:
Phillipe Gaston: Yes, that and more. You will need to find the artist, but more importantly, get their latest piece, it's called "The Hawk by Day". I have a few buyers that I am playing against each other, marking up the price. It would help if I actually had the damn thing that was commissioned for. The sooner you bring me the Hawk, the larger the cut I can offer.
Me: Why don't you get it yourself?
Phillipe Gaston: I wish I knew where to go, my guess is that they're somewhere in the Catacombes de Pompadour, the Ruins below the station, but I can't go there myself. I have the buyers of those smaller artworks coming round, and to be honest, all those dead people freak me out. Not embarrassed to admit it, but all that scares me! I've never been down there, and never plan to. That's where you come in.
- "The Ruins are a big place, where would I start?"
- "What does the artist look like?"
Ruins:
Me: The Ruins are a big place, where would I start? Any idea where the artist might be?
You see him think about it a moment, his face scrunched up making him look a little mouse-like.
Phillipe Gaston: No idea where Tan Guy's workshop might be to be honest. But you could try asking one of the people who work in the Catacombes, they should know more on what goes on in the Ruins than I would. There's Suna vee Nagata who cleans the empty canals or Fran Brier who runs the fungus farm, either of them can fill you in on local goings-on, for a price that is. I hear Fran is partial to rations, but you might get lucky with Suna, just a sweet word or two might be enough.
He goes on to explain how to reach them, both located close to the entrance to the Ruins themselves, so not difficult to find.
Artist:
Me: Ok, what does the artist look like? How will I identify him?
Phillipe Gaston: I guess its a "him"? I don't even know what Tan Guy looks like, we've never met.
Me: You what? Never met, then how have you been selling his art?
Phillipe Gaston: Stroke of luck, that's how this all got set up in the first place. Over a cycle ago I was at my stall, Marché de la Souris, and I overheard a couple of fancy tourists complaining that they can't find the art pieces they were looking for. As a good salesman, I interjected and asked if I can help, best thing I ever did.
He continues his tale, explaining how the tourists were in fact art connoisseurs, and they had picked up a few items made by Tan Guy a while back. With the trend of surrealist art taking over Alpha Centauri, the demand and interest in those pieces kept on rising, with Tan Guy slowly getting the reputation of a pioneer of the movement.
Phillipe Gaston: And that's when I saw my chance. I told the tourists I'll find the artist myself and let them know. I looked all over, where I could of course, even spoke with all the dealers in the market. Only information I found out was that this Tan Guy has been around for at least eight cycles, with his work showing up at random stalls over time, a very secretive artist. Well after no luck, I set up a holo-sign at my stall with a request to work exclusively with them. Didn't expect it to work, but it did!
He goes on to describe how the artist got in touch and agreed to use Phillipe as their exclusive dealer. They set up a way that they never have to meet, using a storage locker in the Market to exchange both the goods and payment. While strange, this method had been working fine, so well, that it allowed Phillipe to open up his art store, and attract even more customers, subsequently raising the increasing profile of Tan Guy even more.
Phillipe Gaston: Then one day, I open up the locker and see a much larger item, "The Wolf by Night" with a note saying that this will be followed by a new piece called "The Hawk by Day" soon. I couldn't believe my luck, such a exquisite item would definitely garner much interest, I had to get to work. Found an incredible deal to sell to a collector, at an extremely inflated price. And now that it's in the Museum on Nouveau Limoges, the demand for new work will be even higher, which means even more money to be made!
You see his excitement melt away to one of sorrow, for himself that is.
Phillipe Gaston: But that was the last time I received anything. Been checking the locker regularly, but nothing. Have left the holo-messages outside my stall and here at the store, and no response either. I would usually get something, but having nothing all this time has got me worried. Imagine if I don't have anything to sell, I've have been pushing this new piece to all my sources across the systems, I'll end up looking like a fool!
Both paths continue:
- Ask for any more information.
You prod him for more information, anything to help find this Tan Guy.
If you asked about the artist:
Phillipe Gaston: Not sure what to say, wish I had some further details that could help. (Continue from "No idea where Tan Guy's workshop might be to be honest" as if you'd asked about the Ruins)
If you asked about the Ruins:
Phillipe Gaston: I wish I could be more helpful, I just don't know anything else, heck I don't even know what he looks like, we've never met. (Continue from "You what? Never met, then how have you been selling his art?" as if you'd asked about the artist)
After completing both paths, continue:
- Decide your path in the Ruins.
You finish up your conversation and prepare to leave the Market.
Phillipe Gaston: Keep your wits about you in the Catacombes, I hear that all sorts of nefarious people are down there hiding from the law. There might be others looking for Tan Guy, their recent celebrity persona has attracted a lot of interest, some with less than noble intentions.
He goes on to imply that there might be a few other "collectors" who could try to influence the price of the artworks by exposing the artist, or even eliminating them. Getting to him before anyone else is essential.
Phillipe Gaston: When you find the artist, firstly make sure that the "Hawk" is safe to bring back to me. Secondly, reassure him that I still have his best interests in mind, especially the continuation of our exclusivity. More art, more money, everyone stays happy!
He puts his arm around you and guides you away from his store and towards the exit of the Market.
Phillipe Gaston: You should get to the Ruins as soon as you can, both Suna and Fran should be there now, busy working. Either one should help with the search.
- Talk to Suna vee Nagata in the Ruins.
- Head to the Ruins and speak with Fran Brier.
Suna:
You nod goodbye to Phillipe Gaston and leave the Market.
Go to the Ruins.
Next NPC: Suna vee Nagata, Ruins, Madame de Pompadour
- Ask Suna vee Nagata about Tan Guy.
Having passed down through the first layer below the station, which holds the web of high-speed transports that branch around the crater, you make your way to the entrance of the Ruins. Known locally as the Catacombes de Pompadour, it holds the underground tombs that were abandoned when the massive floods occurred during the Catastrophe. Home to various people either avoiding the law or skipping extradition, the easily accessible sections also have a few structures for station services deemed too messy for the main edifices.
You follow the signs to the canal maintenance, not difficult to find as you have the simple directions from Phillipe, but also can just allow the noise to guide you, getting louder the closer you get.
As you enter, you see a smiling Belter in red-colored work clothes, noisily repairing a cart at the bottom of an empty and dirty canal basin. You see it has a device on one end, looking like a mechanized shovel for clean up. She looks up at you.
Suna vee Nagata: Hello there, are you looking for work? Too late for today luv, come back tomorrow.
- "I'm looking for someone."
- "I have some questions."
- "Hi Suna, remember me?" (if you have completed the "Dredge the Canals" side job)
Remember:
Me: Hi Suna, remember me? I was here before, helped with the auto-shovel.
She looks momentarily puzzled, but after a moment, you notice her expression changes to one of recollection, and she smiles even brighter at you.
Suna vee Nagata: Yeah I remember you, you did a great job with the clean up. You back for more? There should be something for tomorrow if you want?
Me: No, not looking for work. I need some local information.
You explain that you're looking for someone who is rumored to be somewhere in the Ruins. An artist called Tan Guy, believed to have their workshop down in the Catacombes. You ask if they know anything about this artist, or have any information regarding where someone could be hiding. You mention that he could be down here for at least 8 cycles, if that helps. You see Suna reacts to the last part.
Looking for someone:
Me: No, not here for work, I'm looking for someone in the Catacombes?
Suna vee Nagata: Sorry luv, I don't know much, I rarely leave the canals or docks.
You explain that you're looking for someone who is rumored to be somewhere in the Ruins. An artist called Tan Guy, believed to have their workshop down in the Catacombes. You ask if they know anything about this artist, or have any information regarding where someone could be hiding. You mention that he could be down here for at least 8 cycles, if that helps. You see Suna reacts to the last part, but she responds in a tired tone.
Suna vee Nagata: It's been a long day luv, I don't have time for this.
- Entice Suna vee Nagata to give you the information.
- Convince Suna vee Nagata for the information.
Convince:
(Intelligence check)
You try a different approach. Seeing that she is wearing traditional red, you take a closer look and see a Gaule brooch set proudly on her chest. Using this, you explain that one of the station's greatest talents is lost, and all you are trying to do is rightly bring them back to a place of prominence. This will raise the Gaule profile even more, along with Madame de Pompadour's, in everyone's eyes.
You see that this seems to have worked, as she stops and thinks about it. You notice a dignified expression replace her tired features, and stands tall, slightly puffing out her chest.
Suna vee Nagata: Yes, that's right. Culture and the arts have always been very important to us, I will tell you what I know.
All choices continue:
- Hear Suna vee Nagata out.
Suna vee Nagata: I don't know anything about this artist, Tan Guy, or any workshop, but something funny did happen nine cycles ago, might be what you're looking for.
She goes on to explain that a section of the Ruins started experiencing some strange incidents. Reports began coming in nearly nine cycles ago of hauntings within the Catacombes. Initially disbelieved, but more and more stories of ghosts and disturbing visions were being spread, with gradually the whole area being avoided by the regulars of the Ruins.
Suna vee Nagata: I don't travel much myself, but heard from a few friends of mine of the strange goings-on, and they have generally not gone anywhere near there for a while now. Could be where someone might hide out.
You ask for directions to this section, and anything else she could remember. She sends you a small holo-map of the Catacombes, and points out where you would need to travel to.
Suna vee Nagata: You know luv, you should stay well clear of Les Murs d’Os and L'Ossuaire parts, there's always some trouble going on there. The beauty of the mural or the tomb paintings aren't worth getting shot over, you might need to take the long way round to the "haunted" section.
You thank her and make your way out of canal maintenance.. You have another look at the holo-map that you just received, realizing you would have to travel to the other side of the Catacombes to get to where you want to go. Might be easier taking another entrance into the Ruins.
Runa:
You leave Phillipe Gaston and exit the Market.
Go to the Ruins.
Next NPC: Fran Brier, Ruins, Madame de Pompadour
- Ask Fran Brier about Tan Guy.
Having passed down through the first layer below the station, which holds the web of high-speed transports that branch around the crater, you make your way to the entrance of the Ruins. Known locally as the Catacombes de Pompadour, it holds the underground tombs that were abandoned when the massive floods occurred during the Catastrophe. Home to various people either avoiding the law or skipping extradition, the easily accessible sections also have a few structures for station services deemed too messy for the main edifices.
You follow the signs to the Fungus farming facility, not difficult to find as you have the simple directions from Phillipe, but also can just allow your nose to guide you, as the smell worsens the closer you get.
As you enter a run-down building housing the fungus farms and vats, you see a stocky Colonist with bright pink hair scrubbing out a large plexiglass container. She looks up at you.
Fran Brier: What do you want? This place is off-limits for tourists.
- "I have some questions."
- "I'm looking for someone."
- "Hi Fran, remember me?" (if you have completed the "Fungus Farming" side job)
Remember:
Me: Hi Fran, remember me? I was here before, working on the improved vats.
She looks a little puzzled, but after a moment, you notice her expression changes to one of recollection.
Fran Brier: Yeah I remember you, you did the job the locals wouldn't. You back for more work?
Me: No, not looking for work. I need some local information.
You explain that you're looking for someone who is rumored to be somewhere in the Ruins. An artist called Tan Guy, believed to have their workshop down in the Catacombes. You ask if they know anything about this artist, or have any information regarding where someone could be hiding. You mention that he could be down here for at least 8 cycles, if that helps. You see Fran reacts to the last part.
- Hear Fran Brier out.
Fran Brier: I don't know nothing about this artist, Tan Guy, or any workshop, but something funny did happen nine cycles ago, might be what you're looking for.
She goes on to explain that a section of the Ruins started experiencing some strange incidents. Reports began coming in nearly nine cycles ago of hauntings within the Catacombes. Initially disbelieved, but more and more stories of ghosts and disturbing visions were being spread, with gradually the whole area being avoided by the regulars of the Ruins.
Fran Brier: I don't travel much myself, but heard from a few friends of mine of the strange goings-on, and they have generally not gone anywhere near there for a while now. Could be where someone might hide out.
You ask for directions to this section, and anything else she could remember. She sends you a small holo-map of the Catacombes, and points out where you would need to travel to.
Fran Brier: You know you should stay well clear of Les Murs d’Os and L'Ossuaire parts, there's always some trouble going on there. The beauty of the mural or the tomb paintings aren't worth getting shot over, you might need to take the long way round to the "haunted" section.
You thank her and make your way out of the fungus facility. You have another look at the holo-map that you just received, realizing you would have to travel to the other side of the Catacombes to get to where you want to go. Might be easier taking another entrance into the Ruins.
All paths continue:
Next area: Ruins, Madame de Pompadour
- Reach the other side of the Catacombes.
You skirt between the edges of the Catacombes and the rail network, to find a safe route to the strange part of the Ruins. Checking frequently on the holo-map to make sure your path is true, you gradually make your approach, carefully avoiding going too deep and into the more dangerous sections of the Les Murs d’Os and L'Ossuaire.
You eventually reach a collapsed passageway, tilting downwards at a steep angle, making your progress difficult. You don't see any other path to take, seems like you will need to get through somehow.
- Hop down the passageway.
- Climb down the passageway.
Climb:
(Strength check)
Failure
You look around the passageway for an angle to climb down, or at least make it easier. You don't find anything, keep looking.
- Hop down the passageway.
- Climb down the passageway.
Success
You test the stability of the edges of the passageway, making sure that it will hold your weight and not collapse further. As you are peering around, you see a sturdy pipe going along the whole way on the ceiling, and you grab hold of it.
You slowly climb down, using the pipe as your main handle point, giving yourself enough stability to not lose your grip and fall down. Eventually you reach the end.
Hop:
(Agility check)
Failure
You scan the tunnel for some secure footholds, but are unable to find enough. Keep looking.
- Hop down the passageway.
- Climb down the passageway.
Success
You take a careful look down the passageway and notice several small platforms at various stages. With a series of short jumps, moving quickly from one foothold to the next, you make your down the tunnel to the end, rolling with your last hop, breaking your fall.
Either success continues:
- Investigate the "haunted" area of the Ruins.
You've entered an eerily quiet part of the Ruins, with even the air around you feeling uncomfortably stagnant. You look around and all you see are rows of dark corridors, lined on both sides with the stacked tombs of long-dead first settlers.
Although dark in most places, traces of light drift in through multiple cracks and tiny openings in the ceiling, violently blinking in and out when one of the many trains passes overhead. As you come to a crossroads, you pick up the echo of a low thud down one of the corridors.
You creep your way down the corridor, silently passing by the decorated coffins on each side, straining to not lose track of the source of the echo. As you get halfway down the passageway, you spot something up ahead, causing you to stop.
In the distance, you see some movement coming for the last line of tombs. To you dismay you see two rotting corpses, one on each side, rise up from their coffins, and stand up facing each other. All of a sudden, they start to strike one another with slow but forceful blows, ripping off bits of decaying skin and flesh.
At the moment, they seem to be only focused on each other, without the slightest care what is down the corridor. You will have to pass by them to continue.
- Determine a way past the corpses.
- Sneak past the fighting corpses.
Determine:
(Intelligence check)
Success*
Something hits you as very strange with the scene in front of you. As the two bodies continuously strike each other, they seem to be making no sounds. Their actions make no impact noises, not even the scraping of their rotten feet across the metal flooring. You can clearly still hear the echoes of the dull thudding that you were following down this corridor. It doesn't seem real.
You decide to simply walk through them, confident of your deduction that they are not in fact real corpses. As you take your first step into their midst, you notice your arm drift through where the body should be, and see an image imprinting onto your suit. You look down for the source, and see several tiny holo-projectors, carefully hidden on the ground, transmitting a constant stream of these two fighting corpses. You shake your head, impressed by the clever "haunted" image.
Sneak:
(Agility check)
Failure
You cannot find the right moment to step by them, with their on-going battle making it difficult without being noticed. Keep trying.
- Determine a way past the corpses.
- Sneak past the fighting corpses.
Success
You see a chance to use the stacked tombs to help you pass by them. Taking advantage of their focus being squarely on each other, you climb up on one side to the top, placing you above the ongoing fight below. You carefully sneak past them on a narrow ledge, placing your hands on the ceiling to stop you from losing your balance.
Once you've passed them, you carefully drop back down, and swiftly take off down the corridor where you still hear the low thud, slightly louder than before. You look back, and your passage has fortunately not been noticed by the dueling dead, both of whom continue their dance unabated.
Either success continues:
- Continue following the thudding sounds.
You walk down another long passageway, the silence broken up by the ever-increasing volume of the thumping noises and the frequent trains from overhead. You proceed unhindered, nothing and nobody around, truly an abandoned part of the Catacombes.
As you travel through, you sense that the air around you starts to change, noticing a significant breeze for the first time. The reason becomes clear once you reach the end of the corridor, as you see a huge crevice, extending across on both sides, cutting off your path. You look up and you can catch glimpses of the train system on the level above, and when you turn downwards, you can barely see the bottom. This trench seems to be about eight meters wide, but you do notice that the passageway continues on the other side.
The noises you were following seem to be originating from across, you will need to pass the trench to continue.
- Jump over the crevice
- Figure out a way across the trench.
Figure out:
(Intelligence check)
Failure
You look around for any clues on how to cross the crevice, suspecting that something is not right, but not able to understand fully. Keep looking.
- Jump over the crevice
- Figure out a way across the trench.
Success
You get down to your knees and have a look around. As you're investigating, you notice a flicker from below, and bend down to get a better angle. You see a set of small projectors and you follow the lights of their image. From your new angle, you can clearly see the projection onto a narrow bridge just a step down, going across the crevice. You stand up, and again all you can see is the deep trench, no bridge in sight.
You realize that the projectors must be showing an exact image of what's below, causing an optical illusion of sorts. You look around the corridor and see some loose gravel next to a tomb. You grab a handful, and toss it across where you know the bridge is. The uneven nature of the dirt and rocks, causing the projected image to distort, creating long shadows, highlighting the narrow walkway.
As you walk across, you admire the clever trick, but once you look back, you notice that it is only for those approaching, as the change of one's view allows you to see the bridge clearly, once you are on the other side.
Jump:
(Agility check)
Success
You walk backwards a few meters and prepare for your jump. You start your sprint and build up momentum as you approach the trench. You take off right at the edge and fly through the air towards the other side. Mid-jump you start to notice something odd in your vision, but more importantly you realize you won't make it across! You start to fall short of the other side.
Suddenly, you fall on a surface, which you can see now is a bridge going across the trench, that you are sure wasn't there before. You blink rapidly, making sure your vision is clear and have a look around. You see you are on a narrow walkway and as you look back at where you jumped from, you see a subtle set of lights, projecting an image of the deep crevice below onto the surface of the bridge.
A clever trick, but now as you stand up, you notice that the image only works for those approaching, as the point of view changes perspective. You dust yourself off and cross the bridge to the passageway beyond.
Either success continues:
- Head down the passageway.
As you walk down, you no longer hear just echoes, but the actual noise itself, irregular hits of metal on metal, mixed in with sharp screeching sounds. You continue down and notice that this part of the Ruins seems to be clear of the coffins and tombs, a rare, death-free zone of the Catacombes.
You get to the end of the passageway, and see a functional door left ajar. Sneaking a look through the open doorway, you see a workshop, with several tools hanging on the walls. As you peer around, you see what looks like junk neatly sorted into several piles, a veritable "buffet" of raw materials to work with.
In the far corner of the room, you see a woman, wearing a faded red colored smock, working on a large rock. You notice that her CORETECHS must be switched off, as no name appears through your view when looking at her.
- Continue spying on the woman.
You quietly stand there, though with the amount of noise the woman is making, you doubt she would even notice, her focus being solely on her work. As you watch her, you see her grab a tiny projector and fit it inside a small drilled hole, and switch it on. Immediately an image appears on a flat part of the rock, looks like a bird from old earth, but your view is a little obscured.
You see her grab a blowtorch, and starts to go around the piece, intensely heating specific parts. She then picks up a hammer, and methodically hits the rock at calculated angles. As she is carefully molding the rock, you notice that the projected image starts to gain more focus, with the bird now flying, with a background of what look like mountains and a fabled blue sky.
Though not completed, you can tell that this is similar to the artwork that Phillipe Gaston showed you, implying that this woman is in fact the artist Tan Guy. You take a close look at her, with tired and sad features in strong contrast to the deep intensity behind her gaze.
- Politely knock on the open door.
- Walk inside and get her attention.
Knock:
You knock on the door with a polite tap of your knuckles a few times until you get her attention. She's startled by your presence, and brandishes the blowtorch as a weapon, looking in your direction. She steps behind her work, having it in between the both of you, as if she's afraid that you might attack.
Walk inside:
You walk inside the room and get close enough for her to notice. She is extremely startled by your presence inside her private workshop and reacts accordingly. She immediately brandishes the blowtorch as a weapon, and even shoots a warning spurt, giving her time to move around the rock and protect herself from attack.
Either choice continues:
Yvette Tanguy: Who are you, what do you want?!
- "I'm not here to hurt you."
- "Are you Tan Guy?"
Not here to hurt:
Me: I'm not here to hurt you, my name is <name>, Phillipe Gaston sent me.
Tan Guy:
Me: I'm looking for Tan Guy? Is that you?
She grips the blowtorch even harder, and holds up the hammer in her other hand, grave concern on her face.
Yvette Tanguy: You here to rob me? Or are you with Security? I won't be taken without a fight!
Me: I'm not here to hurt you, my name is <name>, Phillipe Gaston sent me.
Either choice continues:
You put your arms in the air, carefully approaching without showing any threat. You notice that when you say Phillipe's name, she calms down, even has a smirk on her face.
Yvette Tanguy: So, the "Mouse" sent you to find me, eh. Kind of surprised you managed, I thought I was well hidden from anyone.
Me: The "Mouse"?
Yvette Tanguy: Well yeah, that's what the others call him, well now that he is an "art dealer" I guess he doesn't want people referring to that anymore. How did you find me?
You explain how you heard about a "haunted" section of the Ruins and decided to investigate. You came across her projections, but managed to find a way through.
Yvette Tanguy: Seems like I have to rework my protections here, if you can get past that easily, others might too, including station security.
- "Why are you worried about Security?"
- "Is that "The Hawk by Day"?"
- "Phillipe was worried about you."
Security:
Me: Why are you worried about Security looking for you?
Yvette Tanguy: As far as I know, they still have a warrant for me. I've been down here for the past nine cycles just to get away from them.
Me: What did you do?
Yvette Tanguy: Nothing that bad, just the old heads that run this place are a stickler for the rules. They caught me a few times working without a license, and I might have broken a few laws by decorating parts of the station without proper permissions. They called it graffiti and damage to public property, but I saw it as a personal necessity, a freedom of expression as some might say. My murals were my small way of healing through art, helping all of us move on from the floods and the deadly algae that followed. The Government didn't see it that way.
You see her tense at her last words, as if the memory of the past still haunts her.
Yvette Tanguy: Well, they threatened me with expulsion if they caught me again, so that's when I decided to come down here, make my own space to work in peace and relative freedom. I only come out when security is lighter and the market is closed, less prying eyes that way.
- "Is that "The Hawk by Day"?"
- "Phillipe was worried about you."
Phillipe was worried:
Me: Phillipe was worried about you. He hadn't heard from you in a tenspan
Yvette Tanguy: Worried about me, or worried that he's lost a payday? I guess I should have let him know that I needed more time to finish this, but I didn't expect him to get this anxious that he'd decide to send someone to find me.
- "Is that "The Hawk by Day"?"
Me: Is that "The Hawk by Day" that you're working on?
She looks at you with a quizzical expression, somewhat surprised by your comment.
Yvette Tanguy: And you know that how? I guess Phillipe told you so huh?
You explain that though Phillipe informed you of the current piece he is expecting, her previous work, "The Wolf by Night" is currently on display in the famous Museum on Nouveau Limoges, soon all art lovers will know of the work of Tan Guy. You continue to let her know that Phillipe has a whole section of his new store dedicated to showing her older works, and has already sold off her smaller items.
Yvette Tanguy: In the Museum, you don't say, that's a shocker! I never pass into the Market myself, haven't seen his new store. I always stay on the outskirts where the private vendors and storage lockers are, too risky to go too far inside.
- "You know you don't have to stay down here."
- "When will the "Hawk" be ready?"
Hawk:
Me: When will "The Hawk by Day" be ready? Phillipe asked me to bring it back for him as soon as possible.
Yvette Tanguy: Soon, but not done yet. I still need to adjust a few parts, might be ready today, might be tomorrow. I'll take it back to Phillipe, or at least the locker we share, when it's ready. It's not too heavy, I don't need your help transporting it.
You ask why she continues to use the locker, when she can use her new found fame to leave the Ruins and live a life of comfort.
Don't have to stay:
Me: You know you don't have to stay down here, you're famous now.
Either choice continues:
Yvette Tanguy: Tan Guy is famous, not me. I'm fine just being Yvette Tanguy, unbothered by attention. Why would I leave? I like it down here, no visitors, no rules, I have the freedom to do what I want, and as you can see, perfectly capable of taking care of myself. Besides, the Law still wants me for those old petty crimes, and my constant disregard for the rules, why would I risk it?
You continue by stating that it might be easier selling her art if she lived and worked in the station, rather than below it. Probably get more money too.
Yvette Tanguy: I don't need more credits. Phillipe gave me a good deal, better than the other more established dealers out there. He doesn't realize as he's new, and besides me, don't think he has any other suppliers. While it's feels good to be appreciated, I don't think I would be able to create my visions with all the noise and busy-bodies above. And if you're worried about my set-up with Phillipe, I prefer it this way, at least no-one knows my face, or real name.
If you didn't ask about the "Hawk":
You steal a glance at the piece she is working on, the "Hawk".
Yvette Tanguy: That's not ready yet, should be done soon, but I have a few more parts to adjust first. I can take it back to Phillipe, or at least the locker that we use, when it's done.
Both paths continue:
- "I need to go back to Phillipe, anything I can bring with me?"
- "I can try speaking with Security for you."
Security:
Me: I can speak with local Security on your behalf, try and clear your name if I can.
Yvette Tanguy: I suppose you would need to tell them who I am?
You point out to her that it will make her life much easier, and she should benefit from the fame that Tan Guy is bringing Madame de Pompadour. If you can clear her name, it will allow her to at least enjoy her time in the station, without the fear of being arrested. Maybe even give her a chance to turn her CORETECHS back on and see what is going on in the rest of the world, at least the art world that is.
Yvette Tanguy: That would be pleasant, I have thought about walking past the canals and even going back to Le Bon Vin, I used to enjoy spending time at the Bar here. I do miss some of those times from the old days. But I like my anonymity, won't this effect that?
You clarify it might not. No one knows about this place, she can continue to work here, even live here in peace. But it does allow for her to be part of the living world, rather than spend all her time amongst the dead and buried.
Seems like your last point has hit the mark, as she reminisces of old times, and giving you the go ahead to speak to Security for me.
Yvette Tanguy: I should have "The Hawk by Day" ready when you get back, that way you can take it back to Phillipe yourself and get your fee.
You say your goodbyes, promising to be back as soon as you're done. Making your way out of the workshop, you follow your steps back through the Catacombes, passing the illusions you encountered just earlier. A slow trek, but uneventful this time.
Go to Security.
Next area: Security, Madame de Pompadour
- Meet with the Captain of the Gaule Security.
You enter Security and see that it is split into two sections. The first is for private bodyguards, who seem to be sitting around waiting for the tourists who need the extra protection. The second section is reserved for the Gaule military, who handles station security and order.
You approach the first Gaule officer, and ask to speak with the Captain. He directs you to one of the few rooms in this building. As you get closer to the doorway, you see a two people exiting. One you recognize as the Captain due to his spotless armor and rank, the other looks to be a simple trader, being shown out. You catch the end of their conversation.
Etienne Aquila: Don't worry Pierre, I promise I will send a contingent of guards to the Market tomorrow, help with the large flow of tourists. No need to worry about it, it will all be handled tomorrow. Have a good day.
As he says his goodbyes to the trader, you are able to get a closer look at the Captain, an imposing man, with a broad chest and wide shoulders, proudly wearing his spotless attire. Sporting short black hair and a neatly trimmed beard, his face exudes a rare sense of empathy and care. He turns to you.
Etienne Aquila: Come in, please have a seat.
- Speak with the Captain.
You enter a small but well decorated office. Various artworks hang on the walls, with a large Gaule flag perched behind the desk. He points at a plush chair and moves to go to his seat. As you sit down, you notice a small sculpture on his desk, easily recognizing it as one of Tan Guy's works, this might come in handy when trying to make your case.
Etienne Aquila: I see your name is <name>, what can I do for you today?
Me: I'm here to discuss a case from around nine cycles ago, I think it is quite relevant to current events.
Etienne Aquila: That's before my time, I only recently got the position here. But I'm sure I can help, please let me know what you mean.
You explain you are interested in the outstanding warrant on Yvette Tanguy. While you are aware that certain offences occurred, it would be in everyone's best interest if the case was revisited and ideally thrown out. The Captain listens carefully to you, and immediately brings up the file they have on this case.
Etienne Aquila: It says here she was caught on several occasions illegally within the waters of the canals, fined for repeated and unlicensed work on the canal banks, and also ran from the security officers who tried to arrest her. I believe she is off-station, well according to this report. It would require a substantial reasoning to overturn these charges.
- Persuade the Captain.
- Convince the Captain.
Convince:
(Intelligence check)
You ask the Captain about the sculpture on his desk.
Etienne Aquila: Ah yes, one of my favorite purchases. Beautiful isn't it? Supposedly shows a landscape from old earth, but see how it shifts depending on how and where you look at it. Spectacular piece, bought it from one of the new stores in the Market.
You point out to him that you know the store well, and how you recently were tasked in finding the reclusive Tan Guy, right here on this very station. You purposely look from the sculpture to the case file, smiling throughout. You see the Captain stare at you incredulously, picking up at your hint.
Etienne Aquila: The famous Tan Guy and Yvette Tanguy are one and the same?
Persuade:
(Social check)
Me: I see that you know of the famous Tan Guy?
Etienne Aquila: Of course I do, can't you see the exquisite piece right here. Bought locally in the Market, supposedly shows a landscape from old earth, but see how it shifts depending on how and where you look at it. Spectacular piece, don't you agree?
You explain to the Captain that art enthusiasts all across the systems are pushing to claim Tan Guy as their own, it would be a shame if this station allows for that to happen, especially if they are within your reach right now. You purposely look from the sculpture to the case file still glowing from the holo-monitor. The Captain does an amusing double-take, then looks at you as if he can't believe what you are implying.
Etienne Aquila: Tan Guy and Yvette Tanguy are one and the same?
Either choice continues:
You explain that she has been hiding for nine cycles now, too afraid to come out due to the open case against her. Would be a shame if this story would to come out, especially since the Gaule take so much pride in their artists. This seems to have worked, as the Captain wholeheartedly agrees with your point, and you see him apply for immediate overrule on the charges.
Etienne Aquila: The warrant has been cancelled, all that is required is for Yvette to come to me directly and sign off on the dismissal of the case. I would also love to meet her.
- Finish up with Captain Aquila.
You say goodbye to Captain Aquila, promising him that you would speak with Yvette and inform her that she is a free woman, but to make sure you go see him as soon as she can.
Etienne Aquila: You have our thanks for bringing this to our attention, I will speak with my superiors and inform them that you are to be commended for your actions here. Have a good time on our station <name>.
You make your way out of the Security building and head back to the entrance of the Ruins.
Go back to the Ruins.
Next area: Ruins, Madame de Pompadour
- Inform Yvette Tanguy of the developments.
You make your way through the Catacombes, quickly retracing your previous steps. When you come back to the dark passageways from earlier, you hear the rhythmic thuds again, and follow the sounds to the workshop. You pass by the projection of the two corpses swiftly, no need to worry about them anymore and you proceed to the bridge.
This time you step onto the hidden walkway with confidence, and walk across, again admiring the optical illusion protecting the workshop from outsiders. You pass through the last corridor and reach the workshop. This time, you loudly announce you are back, with Yvette standing by her work when you walk in.
Yvette Tanguy: Perfect timing, I just finished "The Hawk by Day", have a look.
She turns it on and you can see the completed piece of art. Depending on the angle you look at it, the bird seems to be moving through the sky, in and out of the many mountaintops and always with a bright blue sky as a background. In style with the rest of her work, there seems to be a dreamy emphasis on the landscapes, giving all who see it the impression they are watching visions from someone's mind.
You inform her on how the meeting with Security went, explaining how you managed to overthrow the charges, as long as she goes to see Captain Aquila, who happens to be a huge fan of her work. Her fame has already started to work in her favor.
Yvette Tanguy: Thank you <name> for your help with this. The feeling is strange, being free to roam around without the fear of being caught and captured. I still like the privacy I have here though, but at least I can go visit my old spots within the station. Here, take this back to Phillipe for me, I'm sure it will get you a high fee. Please tell him that I will be visiting him soon, maybe even personally this time.
She hands you the "Hawk" and it is surprisingly lighter than you thought it would be. Carrying it back to the Market shouldn't be a problem.
You bid adieu to Yvette and move out of the workshop. You start your way through the various parts of the Catacombes, towards the entrance back to the rest of the station.
Go back to the Market.
Next NPC: Phillipe Gaston, Market, Madame de Pompadour
- Report back to Phillipe Gaston.
You make your way through the Market, your previous visit giving you the needed experience to swiftly move through the various parts, avoiding the slow moving crowds who are browsing the wares. You approach “Engraved Goods by Gaston”, and see Phillipe standing outside as before. He spots you and the item you are carrying and waves you forward enthusiastically.
Phillipe Gaston: You brought it! You brought the "Hawk"! So you found Tan Guy? Where were they?
Holding up a hand to stop the constant stream of never-ending questions, he goes quiet, ready to listen. You hand him the elaborate sculpture and his eyes light up, staring at it and yourself with awe. You continue and explain how you found Tan Guy, and how they will be coming themselves to meet with him in person. You reassure him that the future of the store is safe.
Phillipe Gaston: Thank you! You have done me a huge service <name>, I was so worried my new found career as an art dealer was over with, but you've given me renewed hope this can work. As promised, here is your reward, well deserved I may add. Thank you again.
He instantly sends you your fee, and thanks you again before he runs off inside to safely store the new item. You turn and leave his shop.
You have received 300.00 credits.
You have completed the "The Art or The Artist" mission.
Need to go back to Phillipe:
Me: I need to report back to Phillipe. If the "Hawk" isn't ready, is there anything else I can take back with me?
Yvette Tanguy: Ah yes, you want to get paid for your work. I understand, here take these two small pieces I finished the other day, it will at least prove that you saw me. Let him know that I'll bring the "Hawk" myself overnight.
You thank her and take the two items, storing them safely. Making your way out of the workshop, you follow your steps back through the Catacombes, passing the illusions you encountered just earlier. A slow trek, but uneventful this time.
Go back to the Market.
Next NPC: Phillipe Gaston, Market, Madame de Pompadour
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