'In the hills of some unknown country, where Zoe and myself have been abducted by a group who bare a passing resemblance to The Shining Path. Their camp, which appears to mix elements of the Slaver stronghold in Fallout 3 and a farmers market, is easy for me to escape from, and I jog down through the hills on an unguarded road which ends in a gate not dissimilar to the one in Jurassic Park. After escaping, I realise that Zoe has not followed me, despite my believing that that had been my original instruction to her. On an opposing hillside, I plan her rescue with a motley crew of carnival freaks. I draw up plans on a picnic table whilst everyone eats and makes excuses as to why they are scared of rescuing her. I go on a reconnoitring mission over the hills nearby, which now resemble Austria. I decide the easiest way in is the way I departed from, but everyone disagrees, unable to understand how a lack of guards is a good thing. Next to the picnic area is a military compound for another army. I notice they are loading a van with weapons before proceeding through a gate. I decide to pretend I am operating the gate and sneak on to the back of the truck to steal the weapons. They turn out to be guitar hero accessories. Actor Geoff Pierson appears in military fatigues, apparently the commander of the facility. He asks me who I am and what I am doing. I say I was trying to steal guns but they turned out to be plastic guitars. He tells me to be more careful in future. Zoe remains unrescued.'
In some sort of wasteland, possibly Malton from urbandead but in reality. The buildings and general lay out of the space appears to be a grid system, dark green, crisscrossing and bisecting the land; it resembles a giant board game. The sky is muted orange, and I have a feeling there is something lurking in the increasing shadows that dusk has introduced. Someone who I am with shows me around their flat. From the window I see abandoned car parks, and in the distance lakes and mountains, though this view is partially obscured by smoke rising from refineries that seem to encircle the town. The light is falling away. No-one is on the street when I am taken to the next house. The view from the window is the other house. Each subsequent place I am shown around offers a view of the preceding property. I am caught in a loop of property viewing, with some unknown menace responsible for the trap I find myself in.
Comments