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File: HORSEQUEST3COVER.png (9 KB, 1000x500)
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You are a FUCKING MAJESTIC HORSE. Welcome to Horsequest 3.
>>
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>>6008576
Follow the redirect to see the update.
https://www.youtube.com/watch?v=QccFDg2O068

There appears to be an error message on the screen.

Power Failure
WARNING
Power Anomaly Detected: Generator Room 3B


0x0000001F0x000000590x0000009C


RESOLVE ERROR IMMEDIATELY

You clumsily tap on the screen and manage to click the HELP button. The screen opens a command prompt to what appears to be an ASCII map of the surrounding area. It's not really clear what things are labeled, but one of the rooms surely go to the generator.

...

Damn. You can't read this shit at all. Surely there's a way to update the graph—

Oh. It seems to be doing that on its own. Nice. This is, uh, taking a bit.


You wait.

And wait.

And wait.

Until you're no longer a FUCKING MAJESTIC HORSE. You're HARRY.
>>
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>>6008578
PREVIOUS THREADS
https://suptg.thisisnotatrueending.com/qstarchive.html?searchall=horsequest

CHARACTERS
FUCKING MAJESTIC HORSE
RIDICULOUSLY CHARMING EQUINE

HARRY
UNEMPLOYED

GENERAL INFORMATION
This is a drawquest. The current player character's actions are determined on a majority vote. I tend to update one to three times a day, but, from time to time, I will choose to create a video update with music. These take significantly longer, and the exact length is variable. Feel free to be as creative and wacky as you would like! I also run other quests, which you can find under my website below. Thank you for playing and reading!

---
https://baneofjustin.quest
>>
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>>6008579
Your mouth feels dry. You've woken up in a hospital room that you have no recollection of being admitted into, in a gown that you can't remember putting on, all contained within a ship that you possess no memory of entering. You manage to get yourself out of bed and look out the window, adjusting your glasses as you look through the bulletproof glass. Hey, it's your work building. You recall the damage that you caused, but a lot of it is hazy, possibly due to some sort of DIVINE RAGE you were in. Behind you, you can hear gunshots

You don't really feel like being here anymore. What will you do?

CHOOSE TWO

>Look around. (examine your SURROUNDINGS)
>Listen around. (examine your SURROUNDINGS)

>Walk out the door. (leave the ROOM)
>Crawl through a vent. (leave the ROOM)
>Jump out the window. (leave the ROOM)
>>
>>6008580
WE'RE SO FUCKING BACK!
>Listen around. (examine your SURROUNDINGS)
>Crawl through a vent. (leave the ROOM)
It's a well-known fact that crawling through vents is the patrician's choice of conveyance for all /qst/ characters.
>>
>>6008580
>Look around. (examine your SURROUNDINGS)
then
>Crawl through a vent. (leave the ROOM)
>>
>>6008580
>>Listen around. (examine your SURROUNDINGS)
>>Crawl through a vent. (leave the ROOM)
Oh fuck that was an amazing intro.
>>
>>6008580
>Listen around. (examine your SURROUNDINGS)
>Crawl through a vent. (leave the ROOM)
>>
>>6008580
>Look around. (examine your SURROUNDINGS)
and
>Crawl through a vent. (leave the ROOM)
FLEE FROM THE CONSEQUENCES OF OUR ACTIONS
>>
>>6008580
>Listen around. (examine your SURROUNDINGS)
>Crawl through a vent. (leave the ROOM)
We're so back.
Based intro.
>>
>>6008580
>Look around. (examine your SURROUNDINGS)
>Crawl through a vent. (leave the ROOM)

Exceedingly based intro
>>
>>6008580
>Look around. (examine your SURROUNDINGS)
>Jump out the window. (leave the ROOM)
>>
Rolled 1 (1d2)

>Listen around. (examine your SURROUNDINGS)
>>6008583
>>6008660
>>6008662
>>6008838

>Crawl through a vent. (leave the ROOM)
>>6008583
>>6008597
>>6008660
>>6008662
>>6008755
>>6008838
>>6008969

>Look around. (examine your SURROUNDINGS)
>>6008597
>>6008755
>>6008969
>>6008973


>Jump out the window. (leave the ROOM)
>>6008973

Looks like we've got a tie so I'll roll a die to break it! Wrrrrriting!
>>
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>>6009145
You give the room a good listen. Hmm. From what you can tell, there's GUNSHOTS outside your door, but they're not directly behind it. They seem to be further off (yet still rather close) in some other hallway. You can hear the unmistakable sound of BODIES tumbling onto the floor, a sound you made yourself familiar with when being attacked earlier. Er, you assume earlier, you have no actual idea how much time has passed since then. Aside from that, you try and listen to any more subtle noises. Hmm... just the WHIRRS of the medical equipment near your bed and the WHOOSHING of the spaceships that fly by.

You actually recognize those ships. Those are STANFARMS TRANSPORT SHIPS, standard military grade. It suddenly clicks that you're most likely in a Rebellion ship. Shit. If you were unsure for your safety before, you're certainly not confident about it now. You really need to get the hell out of here. You scan the room quickly for any other exits that don't have gunshots or a drop of death behind it.

...

Bingo. You push the bookshelf behind you directly underneath the grate and climb on top so that you can open it. This looks big enough to climb into, but which direction should you go?

>Left. (leave the ROOM)
>Right. (leave the ROOM)
>Actually, maybe you should go through the door. (leave the ROOM)

>Or maybe... (Write-In!)
>>
>>6009156
>Right. (leave the ROOM)
Right is always right.
>>
>>6009175
+1
>>
>>6009156
>Right. (leave the ROOM)
>>
>>6009156
>Right. (leave the ROOM)
>>
>>6009156
>>Right. (leave the ROOM)
>>
>>6009175
>>6009276
>>6009308
>>6009320
>>6009420
>Right. (leave the ROOM)

Venting time. Righting(writing)!!
>>
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>>6009683
You decide to (after embarrassingly having to put your fingers into an L shape to figure out your right from your left) head in the right direction. The light from your room slowly disappears as you crawl further and further down the ventilation shaft. You really hope there's no one behind you; this patient gown is breezy.

...

This sucks. You're starting to regret climbing in here; the vent is dusty and humid, and it doesn't exactly have a pleasant odor. After around a minute of wriggling inside the rather constrained space, you finally see some light ahead. You peek through the slits of the vent cover, only to see a group of REBEL SOLDIERS get shot to death by a pair of DAIRYBOTS. Your face impossibly whitens more than it already is (color palette aside), and for the first time, you're grateful for the vent shielding you from anyone's view. You crawl some more to escape this gruesome sight.

Damn, it's real dark in here. You almost believe this vent could go on forev— ack! You hit your head on the vent wall. Uh oh, have you reached a dead end? You feel around, and it seems as if the vent actually splits into a few directions here, your left, your right, and your... above... above you. There's no signage to tell you exactly what leads where, so you try to use your senses as clues. To your left, you can smell... something EARTHY. You can't hear anything. To your right... something BURNING. You hear nothing there, either. Above you, you can't smell anything, but you hear BUZZING. Alternatively, you also can hear footsteps below you. Seems like there's someone or something around.

What's the move?

>Towards the EARTHY smell. (leave the VENT)
>Towards the BURNING smell. (leave the VENT)
>Towards the BUZZING sound. (leave the VENT)
>Actually, let's go back to our room. (leave the VENT)

>Bump around and make a shit ton of noise. (alert to your PRESENCE)

>Or maybe... (Write-In!)
>>
>>6009691
>Towards the BURNING smell. (leave the VENT)
Towards Satan we go chaps
>>
>>6009691
>>Towards the EARTHY smell. (leave the VENT)
Mmm. Manure.
>>
>>6009691
>Towards the EARTHY smell. (leave the VENT)
An equine smell, perhaps?
>>
>>6009691
>Bump around and make a shit ton of noise. (alert to your PRESENCE)
>>
>>6009691
>Towards the EARTHY smell. (leave the VENT)
>>
>>6009691
>Towards the EARTHY smell. (leave the VENT)

>>6009800
Shhh Anon, you're going to get us caught!
>>
>Towards the BURNING smell. (leave the VENT)
>>6009701

>Towards the EARTHY smell. (leave the VENT)
>>6009704
>>6009769
>>6010130
>>6010198

>Bump around and make a shit ton of noise. (alert to your PRESENCE)
>>6009800

You all yearn for the muck and grime I see. Writing...
>>
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>>6010462
You try and ignore your nose's protests as you head down the left vent shaft. You're curious about what could smell like... smell like... It seems you're drawing a blank. Your brain is telling you that this smell is EARTHY, but when have you ever been anywhere that was EARTHY? Like, a garden for instance. You can imagine and smell a garden in your mind's eye, but for the life of you, you can't remember actually ever going to one. Is there one near where you live? You feel a shiver run down your spine as a single thought surfaces above the rest.

Where do you live? You blink for a second as you start to realize that you have no memories of your home. Is it a house, an apartment? All you can remember... is work. Your breathing becomes ragged. In every waking moment, you work. You interact with JERRY, with your other coworkers at PEGASI COMMUNICATIONS. But you never clock out. You never spend any time outside of work. Your chest tightens. The cramped vent suddenly feels suffocating. You've got to get out of here. You've got to—

You fall through the grate of the vent. That really hurt. You adjust your glasses as you sit up. Dirt. You're sitting on dirt. Seems like the vent led to an indoor greenhouse. It's got its own irrigation system on the roof and everything. It would be pretty cool to sit here and enjoy your first garden experience, but you seem to have a gun pointed in your face. Priorities.

"Don't. Move. A muscle," the lady with the gun commands. On her left is a shorter girl with a hair bun; she seems nervous. On her right, a stern older man. Behind them, looming over everyone in the room, is... a modified BARRY? What the hell? The first thing you notice (aside from the pair of boxers that neatly cover his genitals, smart idea guys!) are the numbers 024 tattooed on his upper right clavicle. His eyes are also blue, as opposed to the red of a normal BARRY.

What the hell do you do?

>Get the fuck out of there. (you MOVE)

>Fight to the death. (enter FIGHTING STANCE)

>Just do what they say. (you SURRENDER)

>Or maybe... (Write-In!)
>>
>>6010486
>Or maybe... (Write-In!)
>Ass up, face down
>>
>>6010490
>Scream out for help
>>
>>6010486
>Fight to the death. (enter FIGHTING STANCE)
>>
>>6010486
>Fight to the death. (enter FIGHTING STANCE)
Violence
>>
>>6010486
>Or maybe... (Write-In!)
>Ask who the fuck they are and what they're doing.
They didn't shoot us on sight--that's a start. I don't like the 'to the death' addendum in the fighting option. Seems pretty final. Not to mention we know the company we were working for sucks ass, so...
>>
>>6010692
(I'll step in and say that it is indeed not final, simply poorly worded flavor text :) fight to whatever end your heart desires or don't :P)
>>
>>6010692
Seconding
>>
>>6010692
+1
>>
>>6010486
>>6010692
+1
>>
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>Ass up, face down (you SURRENDER)
>>6010490

>Scream out for help (Write-In!)
>>6010533

>Fight to the death. (enter FIGHTING STANCE)
>>6010565
>>6010666

>Ask who the fuck they are and what they're doing. (Write-In!)
>>6010692
>>6010836
>>6010925
>>6011141

Time to question our assailants. Writing!
>>
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>>6011167
You're starting to find that you don't particularly enjoy staring down the barrel of a pistol. Who the hell are these people? What do they want with you? Your eyes dart over to the lady holding the gun, trying to gauge what she's thinking. All you see is a death stare that chills you to your very core. Her eyes seem to be devoid of mercy, leaving you paralyzed with fear. You try not to shit yourself.

"Hey, isn't that the unconscious Pegasi employee?" The girl with the hair bun speaks up. The old guy nods.

"It was the last thing Perry broadcasted before we got attacked."

"Be quiet, both of you," the mean lady says coolly. "You're revealing too much. Now, you. What were you doing crawling around the vents?" Oh man. Oh man. Speaking up... might be a bit difficult. You raise a hand to your mouth to try—

"Didn't I tell you not to move, half-pint?!" The gun is now on your temple. Delightful. You freeze. "All you need to do is tell me exactly what I want to know. Now, speak!" Lady, what the fuck are you supposed to do here?? Is this it? This is how you die? Miscommunication? You struggle with this thought as you ignore the irony of dying this way after working for a media communications company.

"Sherry, I don't think he can speak." The girl speaks up.

"What?" SHERRY snarls at the girl next to her, who lets out a squeak in response.

"I mean, it doesn't look like he's got a mouth. I think he was trying to tell us that. Is that right?" You nod furiously. You really do not like the feeling of hard metal rubbing against your forehead. SHERRY doesn't peel her eyes off of you for a second, but she extends her free arm behind her towards the old man.

"Phone." The old guy takes a WHITE IPHONE 5C out and hands it to SHERRY. She taps on it a few times then hands it to you. It's the NOTES APP. "You can type, can't you?" You nod. "What were you doing in the vents?" You type faster than you have ever typed before.

I heard. Gunshots outside. My door. I was. Getting out. You try to not to tremble as you hold the phone up for everyone to see.

"Why are you typing like that?" SHERRY grimaces. "Type normally."

It's a. Tick. It would. Be harder. For me. To type. What you. Would call. Normally.

"Ugh, fine. Which room was he staying in again?" The old guy looks up, thinking.

"I believe he was sent to D4-30A, near Nellie's office." SHERRY groans.

"Oh my God, Terry. I get the two of you really haven't done much field work, but I figured not blurting out people's names would be obvious! Especially not in front of someone who worked for the enemy!"

"Um, you just did it too, Sherry," Nellie interjects.

"God damn it!" You're about to type and respond to all this, but you get a nice prod from the gun at your head. You decide to let your fingers take a break.

"Answer me this: are you still with them? Do you have any intention in working against us?"

No.

(1/2)
>>
>>6011230
You both stare at each other for what seems like ages. SHERRY'S face lightens as she lowers the gun. You can almost hear your heart start up again like a beat up car.

"That's good enough for me. Twenty-four, keep an eye on him." You make eye contact with the big guy. It's uncomfortable, and you imagine he shares the sentiment.

"Can I have my phone back?" TERRY asks.

"Oh right," SHERRY nods. "Hey guy, give it here."

Hang on. I have. Some questions. Of my. Own to. Ask. Both SHERRY and TERRY look at each other. Please?

"I'm not really interested." You can't say you're not surprised that they don't trust you. If you were a rebel and you came face to face with someone who worked for LARRYCORP, you'd probably beat the shit out of them.

"Sherry, I think it's alright. He must be terrified right now. Couldn't you at least answer one or two questions?" This NELLIE girl is nice.

"Ugh, fine! What do you want to know, pipsqueak? You get two questions."

Who are. You people? What are. You Doing?"

"Is this guy serious? Haven't you watched the news at all?" SHERRY'S really getting worked up. NELLIE steps in front of her.

"Maybe it's best if I answer." She turns to you. "We're the Rebellion. Fighting against the corruptions of LarryCorp? I figured we were more mainstream, but I guess not."

No I'm. Familiar with. The Rebellion. But I. Was Asking. Who you. Guys are. Like, individually.

"Ohhh. That makes sense!"

"No. No way." SHERRY shakes her head and grabs the phone from you.

"Sherry, he already knows all of our names. Didn't he say he wasn't with them anymore?"

"For now. Terry, back me up here." TERRY gives them both an uninterested look.

"Does he have a weapon?" He asks. NELLIE looks at you.

"Doesn't look like it."

"Then I don't care." SHERRY groans at this but seems to relent. NELLIE turns to you again.

"I'm Nellie, I'm an assistant medical officer. That's Terry, chief science officer, and that's Sherry. She's one of our leaders. Don't worry, she's really not that mean. You just, um, trigger her a bit—"

"Nellie, that's enough. He doesn't need to hear anything else." She walks up to you. "Get up. You're coming with us."

Well, are you?

>Yes. (you FOLLOW)

>No. (you MOVE)

>Or maybe... (Write-In!)
>>
>Yes. (you FOLLOW)
>>
>>6011231
>No. (you MOVE)
>>
>>6011231
>Yes. (you FOLLOW)
>>
>>6011231
>Yes. (you FOLLOW)
>>
>>6011231
>Yes. (you FOLLOW)
Should've asked if they retrieved our Ryan Gosling bust and the remains of our favourite tie.
>>
>>6011231
>Yes. (you FOLLOW)
>>
>>6011231
>Yes. (you FOLLOW)
We're not in tip-top shape. Worst case scenario we can use these guys as a distraction before peacing out.
>>
>Yes. (you FOLLOW)
>>6011234
>>6011237
>>6011294
>>6011297
>>6011321
>>6011373

>No. (you MOVE)
>>6011235

Majority wins! Sorry for the delay, everyone, my shithole of a job had me exhausted. Posting!
>>
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>>6014951
You reluctantly rise to your feet as SHERRY motions for you to get up. Your legs feel unsteady on the already loose friable soil, your bare feet flattening the leaves as you stand upright. The adrenaline from being held at gunpoint still courses through your veins. You try to take deep calming breaths.

"I wouldn't relax just yet, half-pint. There's still a shit-ton of cow robots wandering about aiming to kill us. And since you're coming with, that includes you," SHERRY reminds you. "Terry, we're only a few more rooms away, yeah?" The old man nods at her.

"Mhmm. Technically, we're only a hallway away, but I'm not taking my chances on fighting. Like you said, Nellie and I aren't field trained. From here, we should only be a few rooms away from it." You look at the both of them and start typing.

Where are. We going? SHERRY looks more annoyed than angry at you after reading your message. That's an improvement at least.

"I guess you'll find out when we get there. You're on a need to know basis, squirt." You really wish she would quit it with the short talk, in both senses of the word. She grabs the phone from you and tosses it to TERRY, who seems to... freeze it in midair and let it drop into his hands? What the hell? No one else seems to react to this. You suddenly start to miss your boring old coworkers, even JERR— nah, that's too far.

The greenhouse leads to a nondescript lab room of some kind. It smells like piss. Thankfully, you quickly leave the room and enter a short corridor. You can hardly see in here; only a single flickering light illuminates the space. As TERRY leads the group to the second door on the right, you try and make out the names of the doors. GARDEN, CREATURE SANCTUARY, FILTERING, and MAIN HUB. You exit through the MAIN HUB door, and from that, another door leading into a small auditorium. Inside that room, a sign on a certain door reads "TERRY'S LAB, Authorized personnel only. Violators will be persecuted and tried.". SHERRY seems to frown at this.

"Terry, what have I told you about that sign?"

"I'm not taking it down."

"What do you think it reminds people of? We're not like the company, Terry!"

"I'm not about to let some brainless idiot rebel who wants to cause some mayhem into my lab."

"Maybe just remove that last part?" NELLIE suggests.

"No."

"But what if—"

"No."

"I think it would really be—" She's interrupted by an explosion in the not-too-far off distance. A pretty close distance, actually. TERRY opens the door.

"No."
>>
>>6014952
You all follow him inside. Wow. It is a mess in here. Notebooks and disposable cups litter tables and there are loose sheets of paper all over the place. TERRY almost immediately begins rummaging through shelves and drawers, pulling out various gadgets and tools. SHERRY joins him. "I still think this is an awful idea," TERRY mutters. SHERRY gives him a look.

"Do you have a better one?"

"My lack of an alternative does not make the current course of action any less awful. We're walking towards our graves, Sherry."

"Can we maybe avoid all the death talk?" NELLIE asks as she fidgets with the hem of her shirt. You're really inclined to agree with her. You tap her arm, and she looks down at you. "Hm? What's up... um, here hang on." She takes her own phone and hands it to you. "What's your name, little guy?" You're still not pleased with these nicknames, but this one is kinder.

I'm Harry. She smiles.

"Nice to meet you, Harry."

It's nice. To meet. You too. What are. We looking. For? NELLIE looks around at her two comrades. They seem to be hard at work placing things in a toolbox. NELLIE leans in.

"There's a transport beam from this ship above us — uh, do you know what a transport—" You nod. "Okay, just making sure. It's aimed at us, so we're trying to reverse it to get our soldiers up there, instead of theirs down here."

Have they. Done this. Before? NELLIE shrugs.

"Sort of? We have our own transport beam on the ship, so they definitely have experience messing with the directions or the flow or whatever. But only from the control room inside the ship, never to hijack another ship's beam." She bites the inside of her cheek, looking to the side. "You wouldn't happen to know how to do any of that, would you?"

No. Sorry. NELLIE shrugs again. Only various metallic noises are heard for the next few minutes. You begin to type again. Where are. My belongings?

"They should've been in one of the drawers in your room. You couldn't find them?"

I didn't. Look. You type this shamefully. NELLIE nods, smiling.

"That's okay, it must've been stressful climbing into vents after hearing the fighting." See, this girl gets it. She's kind. You think of the last time someone has been kind to you. You can't seem to remember. Hmm.
>>
>>6014953
"Okay, I've got the programming kit, but I can't find a link cable," SHERRY says. "Where do you keep them?" TERRY sort of freezes. "Terr? Terry?"

"I'm sure I've got... one around here."

"Damn it, Terry. This is why we talked to you last week."

"It's my choice! It's my preference! I don't lose paper, but if one thing goes wrong with the device—"

"This gets in the way of everyone else's work! Do you have any idea how many people come up to me going 'I can't work with this data' because of how many smudges are on your papers after they've been passed around?"

"I don't see how that's my problem. Maybe everyone should just wash their hands."

"And now we've gotta go hunt down one of the most common pieces of technology here. Damn it."

"Quit whining. I know I at least have one or two laying around somewhere. Nellie, help out." TERRY looks through some drawers by some of his tables.

"Terry, say please." NELLIE waves her hands a bit.

"No, that's fine Sherr—"

"Terry."

"Ugh. Nellie, help us out, please. Happy?" TERRY mutters some gibberish (presumably cursing) under his breath. SHERRY smiles.

"Thank you honey," SHERRY says to NELLIE while she looks inside some cardboard boxes.

"Um, happy to help, guys." NELLIE bends down to search the floor. Nice.

What do you do in the meantime?

CHOOSE TWO.

>Help TERRY. (search DRAWERS)
>Help SHERRY. (search BOXES)
>Help NELLIE. (search FLOOR)

>See if NELLIE has any games on her phone. (do NOTHING)

>Talk to (TERRY, SHERRY, or NELLIE). (Write-In!)
>Or maybe... (Write-In!)
>>
>>6014954
>Help SHERRY. (search BOXES)
Terry seems confident and there's more to look through in boxes than on the floor.
>>
>Help SHERRY. (search BOXES)
>>
>>6014954
>Help TERRY. (search DRAWERS)
>Help SHERRY. (search BOXES)
>>
>>6014954
>Help TERRY. (search DRAWERS)
>Help SHERRY. (search BOXES)
>>
>>6014954
>Help SHERRY. (search BOXES)
>Talk to Terry (ask he if he's got a anything we could get on, this way we can give back the phone to Nellie)
>>
>>6014954
>>Help NELLIE. (search FLOOR)
>>
Rolled 1 (1d2)

>Help SHERRY. (search BOXES)
>>6014961
>>6015060
>>6015129
>>6015131
>>6015374

>Help TERRY. (search DRAWERS)
>>6015129
>>6015131

>Talk to TERRY. (Write-In!)
>>6015374

>Help NELLIE. (search FLOOR)
>>6015382

Looks like we'll search through some boxes and some drawers. Rolling to see which one we do first.
>>
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>>6015595
Standing around here while everyone is busy searching is... awkward, to say the least. You imagine you should probably lend a hand; in fact, helping out with the search might earn you a few brownie points with the more distrusting members of the group. You'd certainly like to be called something other than a short adjective.

You make the choice to try and help out TERRY. As you walk over, you hear the older man get more and more frustrated as he opens drawer after drawer, only to pull out a few papers, flip through them, and place them aside with a huff. You walk up to him, typing up a message on NELLIE'S phone.

Would you. Like some. Help? You hold up the phone to TERRY, who isn't looking your way. You think about tapping the table to get his attention, but your instincts tell you otherwise. Luckily, you're not left standing there holding out a phone for long, as after a few seconds, he realizes you're there.

"Jesus. I'm not about to read what you're typing every single time you need to say something. Nellie, take your phone back."

"I don't mind letting him use it."

"I do," SHERRY speaks up, still focused on her box. "You've got classified information on that device, Nellie."

"But he's gotta speak somehow!" NELLIE insists. "You wouldn't look at all of my private stuff, would you, Harry?" You shake your head as SHERRY groans.

"Fine, fine. Terr, you have that spare I lent you when you lost your phone in the cafeteria?" TERRY freezes.

"Yes." He opens a cabinet and starts to look through it.

"He lost his phone?" NELLIE asks. "I didn't know that." SHERRY giggles.

"Yeah, he had a bad reaction to the pudding that Marcus served, and he ended up dropping it on the floor while he was racing to the—"

"That's enough," TERRY says loudly. "Can't say our names, no, but embarassing stories are fair game, apparently," he mutters as he tosses you a YELLOW IPHONE 5C. You manage to catch it and give him a nod of thanks. You walk back to NELLIE and return her phone. She rewards you with a smile.

"I'm still not reading anything," TERRY says. After he hears no response, he glances at NELLIE to see a very disappointed look on her face. Pressing two fingers to his temple, he sighs. "He can use the text-to-speech function, can't he?" Oh shit, he's right. You can totally do that. You get to typing.

"Thank you. All. For the. Phone and. Also for. Not killing. Me. I promise. I won't. Get in. The way." No one really responds to you, so you get to looking through some of the drawers near TERRY. Papers... papers... research... but no cable. You try another.

"Look," TERRY starts without even looking at you. "I appreciate the help, but I do not want it."
>>
>>6015889
"Let him— ow!" NELLIE hits her head on a table that she's looking underneath. "Let him help, Terry. There's no harm in it." TERRY just grunts.

"Are you positive you actually have a cable in here? We could search somewhere else," SHERRY says.

"Going to another sector would take time we do not have. Might I add, the ship is crawling with Dairybots? No, we're not giving up." Man, this guy is stubborn. You notice that his voice got slightly shakier at the end.

"I'm sure. There has. To be. One somewhere." TERRY glances at you for a second.

"Blind optimism isn't a very becoming trait."

"Better to. Be optimistic. Than to. Give up." TERRY stops what he's doing for a second and stares at you. "Right?" He doesn't say anything, just stares. It's actually pretty uncomfortable; behind that eyewear, you can't tell what he's thinking at all. After a while, he just lets out a deep exhale.

"Thanks for the help," TERRY says. "But I doubt there's any cable here. Go help Sherry."

"Oh, now we're pushing him onto me? Wonderful."

"Sherry, you have been on that same box this entire time. Let the creature help you."

SHERRY rolls her eyes, but she doesn't actually stop you from grabbing a box and looking through it. This box has a lot of research from 20 something years ago. You try to read some of it, but the scientific jargon confuses you. You do, however, notice two reccuring initials on the documents: J.C. and S.K. You have no idea who these people are. You move onto another box, and everyone continues to search in silence for a few minutes.

"I found—" Bang. "Oww... dang it... I found a cable!" Your head whips up to see NELLIE rubbing her head with a small grey link cable in her hand.

"Nice, Nels!" SHERRY stands up and bounds towards her. "Would've been great if this was a little longer, but oh well." She grabs the toolbox and readies up. "It's time to go to the top."

What do you do?

>Go with. Not like you've got much choice. (go UP)

>Escape. (you MOVE)

>Suggest a plan of action. (Write-In!)
>Think of a different idea. (Write-In!)
>Talk to (TERRY, SHERRY, or NELLIE). (Write-In!)
>Or maybe... (Write-In!)
>>
>>6015890
>Escape. (you MOVE)
First short jokes, now "the creature"? Why would we hang out with these bigots?
>>
>>6015890
>Go with. Not like you've got much choice. (go UP)

>>6016092
It's not a choice, Sherry will murder us.
>>
>>6015890
>Go with. Not like you've got much choice. (go UP)

>>6016092
I think if I was fighting a company and I saw one of their workers I'd be pissy too
>>
>>6015890
>Go with. Not like you've got much choice. (go UP)
>>
>Escape. (you MOVE)
>>6016092

>Go with. Not like you've got much choice. (go UP)
>>6016222
>>6016413
>>6016474

You guys have fascinating thoughts on the situation. I think it's important to remember that Sherry and several others have a not so friendly history with the company (https://suptg.thisisnotatrueending.com/qstarchive/2023/5664737/#p5699849) when thinking about their attitudes towards Harry.

Writing!
>>
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>>6017174
You decide to store the information you've read from the research papers in your LARRYCORP MENTAL STORAGE UNIT, just in case. Not like you're gonna use it for work anymore, you guess.
[i]All employees of LARRYCORP are equipped with various augmentations, both physical and neural. As you collect information, you can try to use them as you see fit by recalling the information. At any time, you can list out all your information in chronological order. Who knows, maybe you have some information already stored away?[/i]

The group chatters about their plan to reverse the TRANSPORT BEAM, but you're not really interested in listening to any of that. You get up, dust yourself off (these boxes haven't been touched for quite some time), and walk towards the door. You peek outside into the hallway and HOLY SHIT WHAT THE FUCK- oh. You look up to see PROTOTYPE 024 staring down at you. This is so freaky. You're not used to seeing a BARRY'S unshadowed face, and having been attacked by a horde of them just a little while ago, you're wary of being near a presumably friendly one. Beyond that, you're a little disappointed with yourself for not realizing he was following the group the entire time. SHERRY [i]did[/i] tell him to keep an eye on you, after all. Whatever.

"What's the fastest way up?" NELLIE asks. TERRY points past the door.

"There's an elevator to our right in the hallway past the theater," TERRY replies. "We can go up as high as the thirty-fifth floor, and then from there, we can take the maintenance ladder to the top." TERRY seems to shift his weight and tap his fingers on the table impatiently. "That is, if we're not riddled with bullets along the way." SHERRY crosses her arms.

"Terry." Her voice is stern, but her eyes are soft. TERRY avoids any eye contact and shuffles past, headed towards the door. You move out of the way to let him walk past.

"Come on. We're wasting time." Everyone looks at each other as SHERRY sighs and shakes her head, patting NELLIE'S shoulder reassuringly. She looks down at you and raises an eyebrow but doesn't say anything as she walks by you. NELLIE follows close behind. You really don't want to stick around, but being near them seems safer than absconding. You really don't want to think about what SHERRY will do to you if you try to escape.

TERRY cracks open the door from the SCIENCE THEATER to the main hallway and peers through. As he looks to the right, he tenses up briefly before letting his shoulders drop. With an exhale, he releases the door handle, letting it swing open. Seems there's no robots in the hall, then. TERRY furrows his brow.

"The elevator is destroyed." No one in the room is happy about this, and you all slowly leave it to check the damage. The doors are caved in, and through the gap between them, you can see that the elevator shaft is completely unusable. The ropes that are meant to hold the elevator car are all dangling loose, attached to nothing. Great.
>>
>>6018198
"I guess we'll have to take the stairs," SHERRY says casually as she walks down the hall. No one really has any response to this, and there's an unspoken acknowledgement that now isn't the time to complain.

...

Amazingly, you all manage to get to the stairwell without seeing any robots at all. Seems like this floor is free of them. As you walk through the doorway (after watching 024 struggle to fit through it), you instinctively look up to see six flights of stairs stretching upwards. That's actually... not that bad, compared to how many you thought there'd be. SHERRY leads the way up, and you all follow.

"Harry." TERRY halts mid-step, his feet planted firmly on the stair. Everyone stops where they are to look at him. He turns to you. "Why exactly is this ship here? What did you do?" It seems as though the whole group echoes his sentiments. This is uncomfortable. You suppose you don't really have any other choice but to explain the situation. You get to typing. It takes a bit to get it all out, but you manage.

"[i]I worked. For LarryCorp. I got. Tired of. It. I got. Tired of. "Cleaning" videos. That's all. We do. At Pegasi. Promote peace. Eliminate the. Violent truth. I got. Tired of. It. I hated. Working there. I hated. The people. That worked. There. So I. Stopped. Then they. Sent someone. To kill. Me. The last. Thing I. Remember is. Some crazy. Hooded stranger. Shooting me. With a. Laser. Everything after. Is a. Blur. I survived. So they. Sent more. To finish. The job.[/i]"

You look up. TERRY remains still, his expression unreadable. SHERRY'S face is calm, but her eyes are soft, like before. NELLIE sadly frowns. It doesn't look like anyone knows what to say. After what feels like hours, SHERRY clears her throat.

"We have to move." She walks up one step and pauses. She half-turns to you. "Sorry, Harry." She continues up the stairs, and you all silently follow, the sounds of gunfire and death getting louder and louder.

...

[i]BRATATATATATATATATATATATATAT[/i]

Eventually, you all reach the top of the stairwell. You're in the CARGO RECEIVING HOLD, or FLOOR THIRTY-FIVE. It's a mess up here. The smell of death is unmistakable.

[i]BRATATATATATATATATATATATATAT[/i]

It is also incredibly loud. The sound of the DAIRYBOTS' machine gun arms is a familiar one; you've had to delete entire clips of DAIRYBOT bloodshed off the web. SHERRY turns to you and the others.

"Terry! Where's the maintenance ladder?" She yells over the noise.

"It should be somewhere on the left side of the ship! I don't come here often, so I can't say, for sure, where it is!"

[i]BRATATATATATATATATATATATATAT WHIRRRR[/i]

This noise is really getting on your nerves. I mean, the constant gunfire is just— whirr? You turn to where that sound came from.

[i]WHIRRRRRRR[/i]

It's getting closer.

>Brace yourself. (enter FIGHTING STANCE)

>Open your LARRYCORP MENTAL STORAGE UNIT. (review MEMORIES)

>Run. (you MOVE)

>Say something. (Write-In!)
>Or maybe... (Write-In!)
>>
>>6018199
>Open your LARRYCORP MENTAL STORAGE UNIT. (review MEMORIES)
>>
>>6018199
>Open your LARRYCORP MENTAL STORAGE UNIT. (review MEMORIES)
Knowledge is POWER!
>>
>>6018199
>Open your LARRYCORP MENTAL STORAGE UNIT. (review MEMORIES)
Maybe we can recall if we've heard something like that Whirr before, among other things.
>>
>Open your LARRYCORP MENTAL STORAGE UNIT. (review MEMORIES)
>>6018233
>>6018266
>>6018545

Writing!
>>
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>>6020402
You delve into the depths of your LARRYCORP MENTAL STORAGE UNIT to try and place the source of the sound. In your mind's eye, your memories are saved into an easy to navigate feed, sorted by the date you saved them in. PASSCODE ON MAGAZINE... nope, already used that one. Hmm... none of these seem right— oh hang on, here we go.

You remember now. You don't particularly remember why you saved this memory in the first place though. That's interesting. Anyway, God, this was ugly. A few months ago, there was a family that had wanted to start an animal farm. Since STANFARMS took care of all the husbandry in the NEW AMERICAS, their request was denied. This angered the small town that the family was from, and they decided to hold a protest. It was something; a town full of people banded together for a common cause in the streets, the snow falling on their rosy faces.

".....!"

The protest didn't last a week. STANFARMS wasn't just in charge of husbandry and agriculture; they were military also. They swiftly slaughtered everyone in the town. There was no quarter, obviously. A few days later, someone in the company had somehow obtained video of the event. They were most likely fired, if not worse. You were told to track down any copies of the video and scrub them from the Web. There wasn't much; it didn't really gain any traction. However, you recall that the video was absent of any DAIRYBOTS, which are usually their first line of offense. Instead, they opted for a MAULERBOT.

"Harry!"

Larger and more menacing than any of those other cow robots could ever hope to be, its massive pulverizing hands effortlessly tore through groups of people. The large pistons that powered high caliber cannons in its wrists create that whirr sound. The sound you're currently hearing right—

"HARRY!"

It's SHERRY'S voice. You shake yourself out of your mental unit. You look up. A MAULERBOT stares right at you, its cold eyes penetrating your comparatively tiny body. Fuck.
>>
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>>6020426
You enter a fighting stance. The LARRYCORP BRAWL COMBAT MENU™ combat system menu opens. The MAULERBOT coldly stands, unmoving.

LARRYCORP BRAWL COMBAT MENU™
You have a HEALTHY INDIVIDUAL STATUS.
You have FIVE (5) HARRY POINTS. (Five? Strange, you don't remember getting another HARRY POINT. Where did that come from?)
What will you do?

TUTORIAL
There are two main components of the LARRYCORP BRAWL™ combat system:

A) The green heart is your INDIVIDUAL STATUS. It dictates how much health you have. There are three stages: HEALTHY, DEVIATING, and CRITICAL, indicated by the colors green, yellow, and red, respectively. Specific actions might require your INDIVIDUAL STATUS to be at either of the three stages.

B) You have a total of FIVE (5) HARRY POINTS. For each DRAW move you make, a HARRY POINT is depleted. You can regain HARRY POINTS by sleeping, which you can do either by FLEEING, using an ITEM that replenishes HARRY POINTS, or by using a DRAW move to do so. Certain special actions might require you to use TWO (2) HARRY POINTS at once.

The moves you have are:

A) DRAW - To act in battle, you must use a DRAW move. You will then be guided to a turn of GO-FISH. Both you and your opponent will have three cards in your decks. You can either choose to ATTACK DRAW or GO FISH.

In an ATTACK DRAW, you write an attack and then choose a card from YOUR DECK to ask your opponent for. (Three dice will be rolled. You only need one number to match your card.) If it succeeds, you attack, and you're able to move again. Your opponent cannot move until you fail to draw a card that's also present in your deck.
(Example post: ATTACK DRAW - Stick out your foot to trip Jerry - FIVE)

If GO FISH is selected, you draw from the CARD PILE instead. Regardless of success or fail, your opponent moves directly after. (Five dice are rolled.)
(Example post: GO FISH - Punch Jerry in the nuts.)

DRAW MOVE ROLL VALUES
SENSATIONAL - ACE
EXCELLENT - KING, QUEEN
FANTASTIC - JACK, 10, 9
GREAT - 8, 7
GOOD - 6, 5
NOT BAD - 4, 3
BARELY MADE IT - 2

B) ITEM - If you have an ITEM, you can use it. It requires no HARRY POINTS to do so.
(Example post: ITEM - Harryhausen Ray)

C) FLEE - You can leave a battle if you so choose, but your opponent might not let you. A game of ROCK, PAPER, SCISSORS will then take place with your opponent. If you choose a winning move or draw, you can escape with varying success. If you lose, you will be sent back into battle and be unable to FLEE for a turn.
(Example post: FLEE - Rock)
>>
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>>6020429
(If you so choose to DRAW, here's your deck. My mistake)
>>
>>6020437
(To clarify, each die rolled will be a 1d13.

13 - ACE
12 - KING
11 - QUEEN
10 - JACK
9 - TEN
8 - NINE
7 - EIGHT
6 - SEVEN
5 - SIX
4 - FIVE
3 - FOUR
2 - THREE
1 - TWO

This should be my last correction!)
>>
>>6020429
Well considering what we've learnt from our cyber memories fleeing would probably be the smart thing to do.
>ATTACK DRAW - Go for it's eyes - SIX
But I am not smart. Blind the fucker!
>>
>>6020426
Choose the path of least resistance, RUN! Continue on your journey of peace!
>>
>>6020758
I mean…
FLEE - scissors!
>>
>>6020666
Support!
>>
>>6020666
+1

I'm not sure if we can add to this but maybe get a better look at that circle thing in the middle of its torso?
>>
Rolled 12, 6, 12 = 30 (3d13)

>ATTACK DRAW - Go for it's eyes - SIX
>>6020666
>>6020863
>>6020864

>FLEE - Scissors
>>6020762 (love you too <3)

Looks like we're gonna fight. Rollang...
>>
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>>6020894
Uh, wow. Okay, so new vote since we got so close. Do we keep the old card system and have this move fail, or let this one win and introduce a CRITICAL FAILURE (rolling a 1)?
>>
>>6020896
For clarification, this is the old system:
13 - ACE
12 - KING
11 - QUEEN
10 - JACK
9 - TEN
8 - NINE
7 - EIGHT
6 - SEVEN
5 - SIX
4 - FIVE
3 - FOUR
2 - THREE
1 - TWO

and the new system would go:
14 - ACE
13 - KING
12 - QUEEN
11 - JACK
10 - TEN
9 - NINE
8 - EIGHT
7 - SEVEN
6 - SIX
5 - FIVE
4 - FOUR
3 - THREE
2 - TWO
1- CRITICAL FAILURE
>>
>>6020896
Having a 1 in 14 chance of being fucked by the dice is probably a terrible idea. I'll vote to just take the fail.
>>
>>6020899
Shake things up a little bit, I’m in support of the new system!
>>
>>6020899
Unless the ace is a critical success I see no reason to add a critical failure
>>
>>6021329
>>6021089
>>6021285
I'll update when I get back from work, thank you both for your inputs :)
>>
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>>6021330
As apparent by the lack of update (for 18 days...), I'm gonna have to put a pause on questing for a while. I've had a lot happen these past few weeks, and I couldn't bring myself to keep this going.

Thanks to all of you for reading and voting thus far! I'll still be around and hopefully be back to questing soon.
>>
>>6038513
I hear that you're struggling in life and that you need to prioritize that first in order to be able to quest. Sounds rough man
>>
>>6038513
Hopefully things get back on track soon then. Good luck man.



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