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stalledrevolution) wrote2025-05-16 11:57 am
locations
(CLOSEST TO THE SURFACE)
BOTTOM OF TOWER
(DEEPER IN THE EARTH)
Costume change: unless overridden by another costume change, characters find themselves in their uniforms whenever they enter campus grounds.
In short: Méliès Conservatoire was built using the Frankensteined ruins of a gothic cathedral: long, carved pillars and grand archways define the white halls and and endless repetitions of stained glass comprise the classroom windows. The actual structures, which are in constant-moving flux (saved the fixed locations on this page), exist within an inverted tower: the very bottom of the tower is closest to the surface, and is comprised of the subway level the characters descended from. The walls are a skybox, and the architecture descends downward to a fine point.
At length: The Conservatoire is a vertical campus comprised of mind-bending, surrealist architecture that's in constant flux, all contained within the confines of an inverted tower. Stairs twist into walls that twist into ceilings that twist into balconies that descend into rooftop gardens, and very few features are the same twice. Gravity is surprisingly well-behaved here: if you are walking along a path, even if it proceeds up a 90 degree angle, you can proceed just fine. The architecture quite literally moves around each character, and while they walk upon it— even the fixed locations below shift in the air, though not very far from their assigned spots.
The twisting architecture of the Conservatoire comprises this play's set: though the Extras can access all the impossible ledges and pathways of the campus, as is their privilege as background characters, not all locations are accessible to you of the Troupe— you must remain on the designated stage. Inaccessible locations are locations that are made physically out of reach to the Troupe: stairways slink back, doors form and shut, etc. Additionally, the locations the Troupe can access are fixed in space, and it is in this way characters can form a mental map of the school campus through the otherwise-shifting noise.
There is a through line in the chaos: the architecture is always going down. The stairways, the buildings, the platforms all seem to suggest a layout that has been arranged vertically. The school appears to narrow into the shape of an inverted tower, though, for now, it seems impossible to reach the bottom.
Though there appears to be a sky above you and in the distance beyond, you recognize it's simply a beautifully-painted skybox, its colors shifting with the hour. It follows a 24 hour day, and the weather is spring-like and perfect. There is an illusion of endless freedom within the tower, but its existence is innately claustrophobic.
How you arrived. No longer accessible.
WEEK THREE ADDITION
In addition to the week two content below, the dome of the Chapel (Laboratory) is now blocked by a flat ceiling. There is now a stairway leading up through that ceiling. The stairway has a sign beside it that reads space observation deck.
Going up, you will find the Chapel dome has been replaced by a glass dome with a magnification like a telescope. It allows you a clear view of the vast, starry galaxy of space just above the tower. It also allows you a surreally clear view of the eight planets before you, which line up in an unnaturally neat row before the blazing sun. This view tells you two things:
First, (should you have knowledge of the Milky Way Galaxy,) that you are presently, by process of elimination, on the planet Pluto.
Second, beyond the blazing brilliance of the Sun, you see that same, shimmering castle you see during executions, formed by the heat haze, if inverted: the Kingdom of Heaven. You see it now, grander than ever, formed by the heat haze of the sun: upright and grand, the Kingdom of Heaven is a spectacle infinitely larger than the Sun, and it blocks the rest of the galaxy from view, casting all nine Hells, the nine planets, in its shadow. To gaze upon the Kingdom too long invokes a great yearning— and a great, trembling fear.
WEEK TWO CHANGE
There is no longer a costume change effect in this area.
The exterior of the Chapel is similar, but the inside is quite different. The slight wall that separated the vestibule and narthex has been busted down, meaning the Chapel is now one single, broad room. The pews and other furniture are gone, leaving only rows of glass test tubes along both sides of the aisle, and other strange... fixtures throughout. There are also tables and cabinets beneath them full of all sorts of lab equipment. Steel islands contain sinks and other modest facilities for sciencing to be done. The complexity of equipment and tools available is nothing more complicated than what one could find in a student's science lab on a college campus— useful, but don't get too crazy.
The test tubes run from ceiling to floor, and are filled with translucent, blue-tinted water, reminiscent of the water Backstage and in the Dormitories (Crypts). The walls, including the walls of the transepts, are lined with 3 colors of sealed coffins, all marked by familiar rose signets: black coffins, which feel unholy; white coffins, which feel pure; and brown coffins, which feel just like you. You occasionally hear the coffins rattle and rock, and the sound of something inside knocking in the rhythm of fear, as if trying to escape. Forcing the coffins open reveal they are empty, save iridescent, white roses.
At the head of the room, where the altar and similar once were, is a small, upright coffin propped up at an angle. The coffin contains a sexless child with six wings, seemingly asleep. The plaque at the bottom of the coffin reads Mikaela. On occasion, you may see Mikaela, the cuckoo bird, out and about and surprisingly alone, sitting before the coffin and staring up at it. However... you may instead see a loved one from your memories (even a memory that's been lost to the secret swap) clothed and deceased within the coffin, the plaque neatly stating their name. The coffin cannot be broken or moved. Everyone can see the deceased, and they will remain there until the scene resets.
WEEK ONE ARCHIVE
Costume change: upon entering the chapel, characters find themselves dressed in clothes appropriate for church: whether their Sunday best, or a servant of God. They find themselves back in uniform upon leaving the area.
The chapel stands at the "highest" point in the tower— closest to the surface. The architecture of this particular place is unusually straightforward. It is arranged about as you would expect a chapel to be. The stone of this chapel is in particular disrepair, the building nearly grown over with roses and ivy, and Extras never seem to go near here.
The campus outside is grand, but the interior here is humble and still: the architecture is still beautiful and gothic, and there are mosaics and paintings and pews and a pulpit, but there is a sense of quiet gravity here. There is a sense of unforgivable sin. Dwelling too long here may cause a character to feel a growing desire to confess their perceived hand in some sin to someone nearby, and the feeling lingers for some time after leaving the chapel. This feeling is not impossible to resist, though it may catch a character unawares.
The chapel features two rows of pews on either side of an aisle which leads to an apse with an organ and a particularly Catholic altar (though it lacks depictions of Jesus), adorned with overgrown roses. There are two transepts: a confessional booth in one, and a square, stone, baptism pool in the other.
The stained glass is not at all abstract: it depicts scenes of hateful punishment; sinners bowed before a searing light that bleeds them. Some of the numerous paintings seem to depict uncomfortable scenes familiar to each character's past, though any figures are in silhouette. Every character can see the paintings, and any removed or destroyed paintings are restored when the scene resets.
Within the narthex is a filled font of holy water that stings when touched; it can burn a character the longer their hand remains wet. When the water of the baptism pool is touched, a strange, black substance spoils the water, staining the pool entirely black in the span of a few seconds.
A long walkway takes you up to a half-broken balcony. Where the balcony would host a door that would normally lead into a building is, instead, an uncomfortably plain elevator stood in shadow. Extras never use it. It rattles and clanks and stutters on the way up and down, and time seems to stretch endlessly here. At times the elevator will break down for an unclear amount of time, trapping an individual alone— or trapping them with their company. When it stops, it lets its guests off on a pathway not too far from their destination.
The elevator has a labeled button for every fixed location on this page, including the dorms, regardless of where they're physically situated in space. It also contains one more button labeled "Backstage," which takes you to where the Dramaturge resides.
Spiraling stairs lead from the chapel to the courtyard. The courtyard rests on a platform some ways below the chapel, fenced in by aged, marble archways and an iron, filigree gate. The archways are comprised of a procession of carved angels, their wings cracked and faces broken, who seem to stand vigil around the courtyard's graveyard, lush with roses.
The roses are breathtaking. The roses are batched by color, and of these colors some are more fantastical than others. At the centre of each arrangement you can find a lovely gravestone, carved with angels and roses, and at the centre of each gravestone you can find fixed into stone a student ID, suggesting each grave's owner.
A strikingly vast, rolling, field of lovely, scarlet roses, all growing from the firm stone of the garden platform. The breeze here is exceptionally nice. Extras come up here to laze around, practice, or perform outdoor plays.
The entrance to the rose garden is marked by by a singular, abstract archway that depicts a slice of a rose. This archway stands at the corner of the garden platform. The archway has a button that activates and deactivates the sprinklers. Excess water runs over the edge of the garden platform when the sprinklers are on, creating a waterfall below.
The vantage point from this platform is notably convenient: you can see very well into a number of other fixed locations from here (any location that isn't fully enclosed), as well as into areas inaccessible to the Troupe, which makes this spot great for people-watching (or, well, spying).
Visible fixed locations: Courtyard, Classroom C, Pool, Café Terrace, Greenhouse, Parking Garage, Court.
An empty, three story car park. It is not enclosed, allowing visitors to see out over the tall, concrete ledges of each story and enjoy the sun when on the roof.
There are no cars in this school. Since it otherwise has no use, gossip suggests the Conservatoire appears to use it to place students designated "unforgivable," whatever that means.
WEEK TWO ADDITION Whenever you cross one of the parking spaces, you hear the soft whimpering of young women in pain.
Reminiscent of Fabergé eggs, this café features circular egg-booths ideal for two, but allowing for a couple more if you get cozy. It serves as the Conservatoire's cafeteria. The central and largest egg is manned by collegiate Extras working part-time, and they appear to be employed 24 hours. This café has a mirrored ceiling but no walls, and is surrounded by verdant greenery that spills into the floor.
You can find birds nests with eggs in the nooks and crannies of the café, and birds are liable to keep patrons company at their table and steal crumbs when you least expect it.
There's a Parisian breakfast (6 - 10 AM), lunch (11 AM - 2 PM), and dinner (5 PM - 7 PM) menu available, as well as a dessert menu for lunch and dinner. The menus feature alcohol, and your fellow students won't card you. Outside those specific hours, Extras can serve only coffee, tea, wine, and butter croissants. Once you've ordered, Extras will act like you've paid cash even though you have nothing to pay with, and bring your order to your booth.
The infirmary is styled like a morgue, if a morgue ran down a discomfitingly long hallway. Each infirmary bed is stored in a slab, and there are hundreds, if not thousands, of square slabs along the walls. The slabs slide out easily, and the beds are quite comfy. Extras sneak into the slabs to doze and cut classes. It's surprisingly easy to breathe when inside a slab that's shut, if dark and claustrophobic.
The infirmary terminates in a small room with a flourishing, red rose bush. Interrupting the endless sequence of slabs, there is the door to a cabinet. The cabinet contains basic first-aid supplies, such as swabs, isopropyl alcohol, and bandages, but no pain killers (what if a student got into that without parental permission?). Gossip suggests grown-up pain killers and means to treat injury are available to teachers in the teacher's lounge, but the Troupe doesn't have access to that— not even the staff of the Troupe. Sucks to have a real job.
WEEK TWO ADDITION You notice the infirmary is actually quite warm. You're not sure why you didn't notice this before.
A narrow, long, long, long stairway runs up to a lone greenhouse in the shape of a birdcage, standing in isolation. It does not rest on a platform; the steps lead directly to the front door. The drop from here feels even more precarious.
The greenhouse is pleasantly warm, secluded, and private. There is only one type of plant within it: roses so red they may as well bleed.
The greenhouse contains gardening tools, soil, and a faucet that can fill a tin gardening can.
Costume change: upon descending the steps, characters automatically find themselves in swimsuits. They find themselves dry and in uniform upon leaving the area.
Dozens of separate, stairway paths coalesce to form the seats reminiscent of a coliseum, which slope down to form a pool as large as a coliseum arena, if curved along the bottom like a bird bath. The "seats" of the coliseum ridge the walls of the pool all the way to the bottom. The pool is some ways below the courtyard, at just the right diagonal that the wind carries the roses and petals into the pool.
At the very centre of the pool rises a monument of a parent and child, their sexes ambiguous. From their arms overflow an endless bounty of fresh water. This monument is made of stone, but appears to, somehow, float upon the water. There is a gracious amount of space between the statue and the ledge of its platform, allowing swimmers to rest and repose upon the cool stone.
For those less inclined to swim, shored at the edges of the pool are small boats, perfect for a picnic for two (and maybe a third). These boats come ready with light blankets, parasols, and picnic baskets filled with light treats and sandwiches.
A flat, open platform appears as a sunlit forest from afar. There are a variety of flowers in this forest; not just roses (wow!). Traversing it, though, you find all kinds of friendly animals living freely in the woods, not a soul predating on one another (somehow). You'll find small animals and rodents, like bunnies, hamsters, and mice, the usual selection of farm animals, like horses, cows, and sheep, and birds like ducks, quails, and pigeons. There are also elephants. The woods contains a small, floral, swings hanging from trees, and a sloping, occasionally ridged, landscape, with plenty of room for the animals to enrich themselves.
You will generally not see too many animals at the same time (though you may hear them), as it seems the Dramaturge would not want the animals to seem overcrowded or unhappy. If you see several around, some will need to leave your sight before new ones will spawn in! So keep walking around and you'll find something new.
A wide, multi-colored staircase populated by stray, equally colorful balloons leads up to this playground platform. Every aspect of this place is drenched in color, though the palette is limited to dainty pastels as though to temper the amusements laid out for visitors. A merry-go-round takes pride of place, offering steeds decked out in delicate tackle like candy-floss; mixed in amongst the horses is, every once in a while, an equally well-decorated black deer with magnificent and full antlers.
There's a number of other smaller rides and features, like spinning teacups, slides of various heights, a mirror funhouse, individual mechanical animals that include both prey and predator animals but no horses or deer, and a tall metal-framed climbing structure that looks like it may be a rough replica of the Conservatoire but much more fairy-like. A few industrious machines provide cotton candy and popcorn in a number of fun flavors, and some not-so-fun ones.
Costume Change: Upon entering a go-kart, characters will find themselves in a representative racing uniform that matches their go-kart.
This go-kart track is unexpectedly heart-pounding: not only does it contain terrain similar to other platforms so far— beds of roses with larger-than-usual thorns, narrow corridors through canals, hilly terrain and precipitous valleys, forested stretches that force you to go around many small trees and maybe even through tunnels in the trunks of large ones, inexplicable climbs that take your kart into the arms of large angel statues and forces you to navigate the precarious connections between statue hands— but also brand-new terrain.
There's a series of platforms of snowy, icy terrain that get progressively smaller; an underground track that has no lights at all; and several different instances where aerial, terrestrial or even marine animals appear to get in the way. Where they come from depends upon the part of the track, and where they go no one knows.
The go-karts on offer have some nice default colors that are visible when Extras are using them, but any Troupe-commandeered karts seem to shift to match the representative color of that Troupe member.
The hot springs platform is comprised of two aspects: an "inn," which contains towels, yukata, cubbies, and rinse-off showers; and the snowy, outdoor half, which is largely enclosed by mountainous outcrops that fence those in the hot springs from outside view. The hot springs are mixed.
Though the weather outdoors is chilly, and snow occasionally drifts down, it's heaven once you get into the water. The arrangement of the hot springs makes them rather intimately arranged (most springs can only afford enough space for two people to stretch out), and they're rather private: the rocky outcrops and low-hanging, snow-dusted trees act as "fences" around most springs. There are a handful of springs that are larger and more public, however, for those who might like to bring a group of friends along.
Costume change: upon entering the court, characters automatically find themselves in gym clothes, or clothes appropriate for one of the sports listed below (it may not actually be for the sport they intend to play, if any). They find themselves back in uniform upon leaving the area.
A broad platform incompletely protected by half-ruined walls, the floor has a number of court markers in distinct colors drawn upon it: basketball, tennis, fencing, volleyball, soccer... A shallow water well reappropriated to be a basket contains all the balls and props one could need to set play any of these sports. The nets (such as those for volleyball and tennis) feature a rose pattern, rather than the standard square fare; this is true of the patterns of the ball, also: they all form a rose.
Classrooms contain an unrealistic number of desks and chalkboards, their windows comprised of abstract stained glass that suggest images of heaven, death, and a loving Father. At regular intervals, student Extras rotate through classrooms to attend lectures and demonstrations related to the performing arts. Troupe members have access to 6 classrooms out of the many: 3 high school classrooms (classrooms A – C) with desks and chairs and 3 college lecture halls (classrooms D – F) with tiered seating.
Classrooms contain stationary supplies and lockers (hung up a foot off the ground, like a floating shelf) with simple cleaning supplies, such as brooms and multi-surface sprays. Classroom C lacks one wall, and instead opens up into a grassy, stone platform that contains a large furnace. Other than the trash cans available at the café and dormitories, this is the only other location on campus where trash can be disposed of.
A broad, enclosed hall firmly divided into two: half dedicated to recording facilities, and half subdivided into 3 practice rooms for music. Every room in this hall is soundproof. Extras are often here for assignments or for their own pursuits.
The recording booth features a soft, padded room with varying microphones and related equipment. One wall is glass, a window into the attached tech room, which connects to the auditory chamber via door. The tech room is rather archaic, even for the 90's, but someone could actually record music or song here, and get it burned on a CD or cassette.
The practice rooms are similar, with soft walls. Two rooms are small (one clearly intended for personal musical or vocal practice, and the other styled as a personal dance studio with a bar and mirror), and the third room is large, apparently intended for orchestra, chorus, or group dance. The large practice room has a grand piano. Each practice room contains lockers with instruments and dance wear.
One wing of the Grand Theatre leads to a room full of costume and props, with one particularly striking detail: everything here is real. These ball gowns aren't just costumes— they really are as sewn with gemstones and genuine gold (and yet, they're not at all heavy). Each category of clothing and props is contained within large bird-cage structures.
The props selection is just as extensive and just as authentic, which means anything from calculators to weaponry are startlingly real. None of these "props" seem more modern than anything one could find in the 90's, and they're typically simple (a handgun but not a machine gun; a sword in lieu of a broadsword; an umpire's protective gear rather than a set of samurai armor; etc). As for makeup and the like...
There is also a bird cage that contains a vanity table (with a big mirror and lights), beauty makeup and stage makeup, and minor, fake "appendages" (fake stitches, fake vampire teeth, googly eyes, gills...) one can apply. Certain fake appendages take skill and time to apply with stage makeup, especially if one wants them to hold up to scrutiny in person, and not just to an audience far from the actors up stage.
Gossip tells you there's several theatres around campus, but this is the only one Troupe members have access to. A spacious, closed chamber with lush, velvety curtains, this theatre proves an excellent venue to for plays and recitals. Holding up the upper corners of the curtains are two statues of identical angels; they seem particularly sad.
At one end of the stage is a thick rope; when pulled, a massive series of overlapping white screens descends. The small projection room at the highest end of the theatre contains messy stacks of film reels individuals can insert to watch. Extra teachers will often play films and recordings for students; other Extras will come here to watch recordings as leisure. The recordings only feature Féerie plays, and works inspired by them, such as the films of Georges Méliès.
A functional darkroom with an eerie ambience. Maybe it's just the low-lighting and red? The darkroom contains all the necessary components (including including enlargers, chemical baths, sinks, and all sorts of electrical apparati) to process all kinds of film into all kinds of (retro) media. The room is not very well ventilated, and it's rather small.
The darkroom also contains a small stock of disposable Kodak cameras, which can take around 27 pictures per camera. The film must then be developed in the darkroom to convert it to actual photographs. The quality is as you'd expect.
Costume change: upon entering the kitchens, characters find themselves dressed in chef's clothes. They find themselves back in uniform upon leaving the area.
A massive room with dozens of workspace-islands. These rooms are used for culinary extracurriculars, and Extras filter in here after classes (or during, if they're playing hooky). The islands are well stocked with pots and pans and aprons and mixers and coffee makers and so on, and each one is equipped with its own stove, oven, and sink. Fridges and pantries at the head of the room carry a stock of high-quality meats, eggs, milks, spices— etc. It's all fresh, and gossip suggests the school has easy access to "the bounties of the earth." In short, someone could make anything they put their minds to in here.
Not far off from the library is a series of art studios dedicated to a plethora of creative pursuits provided as extracurriculars within the Conservatoire. Of the several available, Troupe members only have access to one large studio. Patrons can draw, write, collage, paint, sculpt, or anything their heart desires within these studios, and all studios are equipped for all kinds of crafts. These supplies can be "borrowed" (and never returned, if your character wishes) and taken to other areas. Extras are often here, either as part of a club or for their own enrichment. Though much of the architecture here is aged as the rest of the school, the iron bars jailing the white rose bushes in this studio are strikingly well-maintained.
Characters may occasionally find unfinished sketches (in pencil or paint) of themselves left forgotten in the stacks of supplies here. The sketches were clearly done with love; it seems some Extra may have their eye on you...
The library is a tall, stained glass-roofed, single story structure with stairs running up and down and among walls to aid students in reaching those hard-to-grab-books. The shelves here spiral in every direction, and the rolling ladders spiral along with them. The shelves shift into different materials: wood, stained glass, metal, and the material is often harmonious with the subject matter; pretty glass for religious texts; homely wood for fairy tales; artsy wires for books on the performing arts and arts in general, and industrial metals for texts that discuss the endless cruelties committed by humanity, and texts in favor of a firm hand when rearing children. Scholarly types might find themselves short on material here, as the above is just about all the library offers to read.
Those with whimsy in their hearts may find more joy in the library beneath the colorful light that floods the broad room. There's all sorts of cozy reading nooks filled with pillows and blankets tucked away beneath spirals, under the slope of stairs and walls, and hidden behind portions of bookshelves that swing open to reveal hidden hiding spots. There are hot chocolate and marshmallow dispensers throughout the library for cozy reading.
The stained glass on the ceiling depicts a young woman with black-tipped dove's wings and dark horns. She's bleeding to death, while endlessly skewered with swords held by haloed pillars of flame. The woman's blood turns to a gorgeous field of red roses.
WEEK TWO ADDITION A small, child-sized UFO has crashed through the roof of the Library and sits on the library floor. There's a hole through the stained glass ceiling now, shattering the depiction of the suffering maiden. While breaking into it is a futile effort, it's curious how the Extras give it an exceptionally wide berth. They have nothing but ill things to say about it, despite certainly never speaking of aliens before.
The only way to access the dormitories is through the elevator. It is the "lowest" (closest to the inverted tower's tip) location accessible point to the Troupe, and stands in the shadow of the chapel high, high above.
The elevator lurches to a stop at a largely-shattered platform, overgrown with flora and roses, as if this were a place long abandoned. The only thing here is a door to large, metal vault set into the stone ground. This takes you to a long, long stairway into the dark, down into the flooded crypts.
At the foot of the stairway are several, small boats that can comfortably fit two, and hazardously fit more. Each boat is affixed with a lantern; there is no other lighting in the crypts besides these. The flooded tunnel that serves as the foyer eventually splits off into five tunnels, each labeled by a black iron plaque by dormitory name, which lead to each dormitory's lodgings. See the Dormitories page for more information on the lodging interiors.
The tunnels are long and winding. There are markers for graves, and plaques for names, but each one is blank. Angelic statues rest above stone coffins and visible beneath the waters, posed with their arms over their head, or protecting another angel, as if hiding from something raining down upon them.