Difference between revisions of "Methods of Revolution (Day 1)"
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| + | {{DISPLAYTITLE:Methods of Revolution [Day 1]}} | ||
{{Infobox video | {{Infobox video | ||
| − | | title = Methods of Revolution <nowiki>[ | + | | title = Methods of Revolution <nowiki>[Day 1]</nowiki> |
| image = Methods 1 thumbnail.jpg | | image = Methods 1 thumbnail.jpg | ||
| − | | video-title = Awakening (original)<hr>Methods of Revolution <nowiki>[Part 1]</nowiki> (first change)<hr>Methods of Revolution <nowiki>[me/thod re;//]</nowiki> (second change)<hr>Methods of Revolution <nowiki>[me/thod re;// Part 1]</nowiki> (third change)<hr>Methods of Revolution <nowiki>[Prologue: Part 1]</nowiki> (fourth change)< | + | | video-title = Awakening (original)<hr>Methods of Revolution <nowiki>[Part 1]</nowiki> (first change)<hr>Methods of Revolution <nowiki>[me/thod re;//]</nowiki> (second change)<hr>Methods of Revolution <nowiki>[me/thod re;// Part 1]</nowiki> (third change)<hr>Methods of Revolution <nowiki>[Prologue: Part 1]</nowiki> (fourth change)<hr>Methods of Revolution <nowiki>[Part 1]</nowiki> (fifth change)<hr>Methods of Revolution <nowiki>[Day 1]</nowiki> (final) |
| − | | creator = | + | | creator = Unknown |
| channel = [[Jadusable]] | | channel = [[Jadusable]] | ||
| upload-date = April 23, 2020 | | upload-date = April 23, 2020 | ||
| Line 10: | Line 11: | ||
| game = N/A | | game = N/A | ||
| previous-video = [[Baker.txt|baker.txt]] | | previous-video = [[Baker.txt|baker.txt]] | ||
| − | | next-video = | + | | next-video = [[Methods of Revolution (Day 3)|Methods of Revolution <br><nowiki>[Day 3]</nowiki>]] |
}} | }} | ||
| − | '''Methods of Revolution <nowiki>[ | + | {{Quote|"You're on the first floor, surrounded by oblivion, and any attempts to leave via window or entryway result in immediate termination. So between you and me, it's not really the way to go."|Abel|[[Methods of Revolution (Day 1)|Methods of Revolution <nowiki>[Day 1]</nowiki>]]}} |
| + | '''Methods of Revolution <nowiki>[Day 1]</nowiki>''' is the thirteenth video of ''[[Awakening (arc)|Awakening]]'' and the thirty-third video in ''[[Ben Drowned]]''. It is preceded by [[Baker.txt|baker.txt]] and followed by [[Methods of Revolution (Day 3)|Methods of Revolution <nowiki>[Day 3]</nowiki>]]. | ||
== Synopsis == | == Synopsis == | ||
| − | + | The second player wakes up on the floor of a hotel room. Amid the warning signs, he searches for answers as to where and when he is. He is contacted by Abel, a seemingly-friendly voice, over the radio in his room. Abel warns him that if he leaves, he will die. | |
== Video == | == Video == | ||
| Line 26: | Line 28: | ||
The Rosa intro sequence plays while images of a white room flash by. | The Rosa intro sequence plays while images of a white room flash by. | ||
| − | + | The new second player wakes up on a tile floor with only a flashlight for a light source. Breathing heavily, he grabs the flashlight and looks around the room he's in, finding that it's a bathroom with sheets covering the mirror and shower. After another quick look around the bathroom, he exits into the main room. He is in a hotel, and it is completely dark. | |
| − | As he looks around the room, he sees that sheets cover the windows and TV. He looks at the door to the hallway, which has a sheet of paper attached, reading, "DON'T LET HIM HEAR YOU." | + | As he looks around the room, he sees that sheets cover the windows and TV. He looks at the door to the hallway, which has a sheet of paper attached, reading, "DON'T LET HIM HEAR YOU." His breathing quiets as he backs away from the door. He approaches it again and looks through the peephole. A shadow lingers on the wall before moving away. He moves away from the peephole and focuses on the door to the adjoining room. He opens his door and tries to bust open the other. It fails and he closes his door, turning toward the rest of the room and noticing that the mattress has been lifted vertically against the wall. He opens the closet and finds a mannequin head and a hoodie inside. He takes the hoodie, knocking some nails onto the floor, and throws it onto the bed. |
| − | On the other side of the room, he finds a desk littered with crumpled papers, crudely-scrawled notes, a pair of gloves, some books, and a clock. He turns on the desk lamp, then sits and puts down the flashlight. He looks over the contents of the desk before looking up at the sheet covering the window in front of him. It contains another note, reading, "DON'T LET HIM SEE YOU." Back on the desk, | + | On the other side of the room, he finds a desk littered with crumpled papers, crudely-scrawled notes, a pair of gloves, some books, and a clock. He turns on the desk lamp, then sits and puts down the flashlight. He looks over the contents of the desk before looking up at the sheet covering the window in front of him. It contains another note, reading, "DON'T LET HIM SEE YOU." Back on the desk, he looks at the open book in front of him, a Bible open to the first chapters of Genesis. To the left is a notepad containing handwritten notes; the first page reads: |
* If you're reading this | * If you're reading this | ||
* Im sorry | * Im sorry | ||
| Line 69: | Line 71: | ||
* <s>Every day he</s> silences the voices | * <s>Every day he</s> silences the voices | ||
* <u>Not every day</u> | * <u>Not every day</u> | ||
| − | Music begins as | + | Music begins as he turns the page. The next three pages all contain the same word: "Silenced." He flips through them, finally coming across more notes: |
* He's not coming | * He's not coming | ||
He turns the page: | He turns the page: | ||
| Line 76: | Line 78: | ||
* Stay silent and wait | * Stay silent and wait | ||
* ...... | * ...... | ||
| − | + | He turns away from the notepad and begins looking through the crumpled papers littering the desk. The first reads, "HE" repeated seven times. He throws it aside and grabs the next, which reads, "WHO IS HE." The next reads, "ON THE SIXTH DAY." He turns the next few pages in the notepad, finding them blank and slamming it down. He observes the two other books, held neatly between bookends. One is ''The Devil in the White City'' and the other is ''Inferno'', the first volume of Dante's ''Divine Comedy''. He slams them down and looks at another note, which reads, "AM I REAL." He slams it down on the Bible and tosses it aside. He then notices underlined text from the page the Bible is turned to: | |
* So God created man | * So God created man | ||
* God saw everything | * God saw everything | ||
* sixth day. | * sixth day. | ||
| − | + | He grabs another note, which reads, "AM I ME." He brings his attention to the clock, whose hands are stuck on [[423|4:23]]. He looks inside it and sits it aside, taking one last note into his hand, which reads, "WHO AM I." | |
| − | + | He gets up from the desk and goes to the TV stand. He opens the first drawer and finds a small hunting knife, which he tosses onto the desk. The other drawers are empty. He opens the microwave, finding nothing, then the fridge. He falls backward in fear as he finds a mannequin head and an open book inside. He hesitates, then reaches carefully inside for the book. He takes it quickly, then reaches back inside to knock the head onto the floor. He observes the book for a moment, which contains the lyrics to the 1947 song "As Long as I'm Dreaming." He tosses it aside. | |
| − | He sits on the bed and looks around the room for a moment before grabbing the hoodie. He unravels it and sees the design. At the bottom right, the text reads, "BROOKLYN, NYC, Free your mind, 11-3-15." He tosses it onto the floor as the music stops and he hears an ominous breathing sound coming from the hallway. As he approaches the door, the footsteps and breathing get louder. | + | He sits on the bed and looks around the room for a moment before grabbing the hoodie. He unravels it and sees the design. At the bottom right, the text reads, "BROOKLYN, NYC, Free your mind, 11-3-15." He tosses it onto the floor as the music stops and he hears an ominous breathing sound coming from the hallway. As he approaches the door, the footsteps and breathing get louder. He looks through the peephole and sees [[Jailer|a man in a gas mask]], who then turns to the door and looks back inside at him. The man walks away and he goes back into the room. |
| − | + | He begins removing things from the floor, throwing the hoodie back to the bed, putting the mannequin head on the TV stand, and putting the song book on the desk. As he does, loud feedback fills the room and he turns to the chair beside the bed. He hears static and looks behind the cushion. He pulls out a radio, and immediately someone begins speaking to him: "So, I see you met the jailer on the first floor. Face to face. Sorry, where are my manners? You can call me Abel. Yeah, that's A-B-E-L. And if you think this is the confusing part, you really haven't seen anything yet." | |
| − | + | He returns to the desk as Abel continues his introduction: "Listen, I'ma do you a favor, don't worry about what day it is, don't worry about what year it is, don't even worry about what you used to know, because it's not gonna help you here." | |
He looks down at the notepad once more, then sits. Abel continues, "You, my friend, are a completely blank slate. Wherever you thought you were doesn't matter, it's gone. You're completely cut of from the outside world, in what would best be described as a halfway house. You're on the first floor, surrounded by oblivion, and any attempts to leave via window or entryway result in immediate termination. So between you and me, it's not really the way to go." | He looks down at the notepad once more, then sits. Abel continues, "You, my friend, are a completely blank slate. Wherever you thought you were doesn't matter, it's gone. You're completely cut of from the outside world, in what would best be described as a halfway house. You're on the first floor, surrounded by oblivion, and any attempts to leave via window or entryway result in immediate termination. So between you and me, it's not really the way to go." | ||
| − | + | He continues looking over the desk as Abel continues: "It brings up the bigger question, why even leave? You've got it great here. We've got books to read, you got a better chance to get in touch with God, we've got entertainment sets, as long as you stay away from the jailer you shouldn't have any problem. At worst, there may be new arrivals that are not as quiet as you are and take some time to get used to the new location, they happen from time to time and it's unavoidable." The next thought is slightly cut off. "--persist outside the usual time frame, and continue to be a problem, we'll remove them, no problem for you. Uh, there is a little bit of bad news, umm...you know, I regret to inform you that it looks like your friend, and I say friend but she's more like a predecessor," and more static cuts the sentence off. "--was in your room and trying to communicate something with you, before she trashed it, so apart from delaying your entertainment set by a few days, umm...sorry. It's not really quite the warm welcome we wanted for you." | |
After a pause, he continues, "There's one thing she's right about though, it's that, yeah, time and items in this world don't really have the same kind of permanence. But, I wouldn't really look to her for, you know, role model examples." He chuckles. "Again, you know I'm talking to you, but, I'm also talking to 'you', because it's a misnomer to say you yourself have been given free will again. A better way to describe it would be that you're awake and you're properly receiving." | After a pause, he continues, "There's one thing she's right about though, it's that, yeah, time and items in this world don't really have the same kind of permanence. But, I wouldn't really look to her for, you know, role model examples." He chuckles. "Again, you know I'm talking to you, but, I'm also talking to 'you', because it's a misnomer to say you yourself have been given free will again. A better way to describe it would be that you're awake and you're properly receiving." | ||
| − | + | He looks around the room as Abel continues, "You know, I never tell any subjects this because they always refuse to believe they have anything less than free will, and yadda yadda yadda, but your case is a little bit of a special one. Your consciousness, believe it or not, is comprised of several hundred of those that participated in the original St. Louis incident. And I-- that is, it-- it's crazy. But, also no offense, we do have a bit of a death pool going on how quickly you'll try to leave the room and die. Past history has shown they don't really like doing what they're told, and it's like they don't really value human life, they just like to keep pushing and pushing and pushing, so, uhh, sorry to 'you', and uhh, but you know, if I were you, I would just stay and relax here. You really have nothing to worry about, you're totally safe here, you don't need to eat, we've taken care of all of that stuff for you, we got your entertainment set up here once we clear out all this debris, and uhh, you just need to sit back and relax and just enjoy the parameters we've established for you. | |
| − | + | He looks toward the door one more time and the video cuts to an intro-like sequence with new Rosa dialogue: "Every time I sleep, the future plays out before me. I know the ending... it will end over and over until I cease to dream. I know your questions." | |
The video cuts to black, but Abel continues, "Sorry, I was getting a little bit of uhh, interference there. Anyway, I just wanted to say hi, and you know, maybe one day we can meet in person. And how 'bout that, might be nice, right?" | The video cuts to black, but Abel continues, "Sorry, I was getting a little bit of uhh, interference there. Anyway, I just wanted to say hi, and you know, maybe one day we can meet in person. And how 'bout that, might be nice, right?" | ||
| − | + | == Gallery == | |
The following images were used as a thumbnail leading up to the premiere: | The following images were used as a thumbnail leading up to the premiere: | ||
<gallery mode="nolines"> | <gallery mode="nolines"> | ||
| Line 108: | Line 110: | ||
Image:Methods 1 thumbnail.jpg | Image:Methods 1 thumbnail.jpg | ||
</gallery> | </gallery> | ||
| − | The following | + | The following text was found in the video's spectrogram: |
<gallery mode="nolines"> | <gallery mode="nolines"> | ||
| − | Image:Methods 1 | + | Image:Methods 1 spectro.png |
</gallery> | </gallery> | ||
| − | + | == Notes == | |
| − | * The spectrogram contains a message that reads, "I'VE GIVEN YOU ALL I CAN TO BREAK FREE. LOOK CLOSELY. IT'S NOT JUST HOW TO BREAK FREE, BUT WHEN - DON'T BE TOO HASTY. | + | * The spectrogram contains a message that reads, "I'VE GIVEN YOU ALL I CAN TO BREAK FREE. LOOK CLOSELY. IT'S NOT JUST HOW TO BREAK FREE, BUT WHEN - DON'T BE TOO HASTY". |
{{Videos}} | {{Videos}} | ||
[[Category:Awakening Arc]] | [[Category:Awakening Arc]] | ||
[[Category:Videos]] | [[Category:Videos]] | ||
Latest revision as of 22:47, 8 August 2021
| Video title | Awakening (original) Methods of Revolution [Part 1] (first change) Methods of Revolution [me/thod re;//] (second change) Methods of Revolution [me/thod re;// Part 1] (third change) Methods of Revolution [Prologue: Part 1] (fourth change) Methods of Revolution [Part 1] (fifth change) Methods of Revolution [Day 1] (final) |
|---|---|
| Creator | Unknown |
| Channel | Jadusable |
| Upload date | April 23, 2020 |
| Runtime | 18:43 |
| Tags | Methods of Revolution, Part I, BEN Drowned, Awakening, Timelines, The Second Player, Abel, Jadusable, Alex Hall, Where is he?, Trapped, Purgatory, Escape, How can I escape, Drowned, The Jailor |
| Game | N/A |
"You're on the first floor, surrounded by oblivion, and any attempts to leave via window or entryway result in immediate termination. So between you and me, it's not really the way to go."
Methods of Revolution [Day 1] is the thirteenth video of Awakening and the thirty-third video in Ben Drowned. It is preceded by baker.txt and followed by Methods of Revolution [Day 3].
Synopsis
The second player wakes up on the floor of a hotel room. Amid the warning signs, he searches for answers as to where and when he is. He is contacted by Abel, a seemingly-friendly voice, over the radio in his room. Abel warns him that if he leaves, he will die.
Video
Description
N/A
Transcript
The Rosa intro sequence plays while images of a white room flash by.
The new second player wakes up on a tile floor with only a flashlight for a light source. Breathing heavily, he grabs the flashlight and looks around the room he's in, finding that it's a bathroom with sheets covering the mirror and shower. After another quick look around the bathroom, he exits into the main room. He is in a hotel, and it is completely dark.
As he looks around the room, he sees that sheets cover the windows and TV. He looks at the door to the hallway, which has a sheet of paper attached, reading, "DON'T LET HIM HEAR YOU." His breathing quiets as he backs away from the door. He approaches it again and looks through the peephole. A shadow lingers on the wall before moving away. He moves away from the peephole and focuses on the door to the adjoining room. He opens his door and tries to bust open the other. It fails and he closes his door, turning toward the rest of the room and noticing that the mattress has been lifted vertically against the wall. He opens the closet and finds a mannequin head and a hoodie inside. He takes the hoodie, knocking some nails onto the floor, and throws it onto the bed.
On the other side of the room, he finds a desk littered with crumpled papers, crudely-scrawled notes, a pair of gloves, some books, and a clock. He turns on the desk lamp, then sits and puts down the flashlight. He looks over the contents of the desk before looking up at the sheet covering the window in front of him. It contains another note, reading, "DON'T LET HIM SEE YOU." Back on the desk, he looks at the open book in front of him, a Bible open to the first chapters of Genesis. To the left is a notepad containing handwritten notes; the first page reads:
- If you're reading this
- Im sorry
- I don't know where we are
- Time is wrong here.
- Haven't eaten in days
- haven't needed to
- He won't let me leave
- Always watching
He turns the page:
- There's another voice across the hall
- They are crying begging pounding they wont stop
- Begging to leave
- He hears them
- He's coming
The next page:
- Voice is gone now
- Its just me
- This has to be a dream
The next page:
- Clock doesn't move
- No sun
- No moon
The next page:
- New voices further away
- they need to be silent
- He will hear them
The next page:
- Where is he
- They are banging on doors screaming
- He hasnt come for them
The next page:
- Marking days by the sound of new voices
- He's back today
- Why not yesterday
The next page:
- I see other doors
Every day hesilences the voices- Not every day
Music begins as he turns the page. The next three pages all contain the same word: "Silenced." He flips through them, finally coming across more notes:
- He's not coming
He turns the page:
- I'm waiting for them to leave......
- If you take my place
- Stay silent and wait
- ......
He turns away from the notepad and begins looking through the crumpled papers littering the desk. The first reads, "HE" repeated seven times. He throws it aside and grabs the next, which reads, "WHO IS HE." The next reads, "ON THE SIXTH DAY." He turns the next few pages in the notepad, finding them blank and slamming it down. He observes the two other books, held neatly between bookends. One is The Devil in the White City and the other is Inferno, the first volume of Dante's Divine Comedy. He slams them down and looks at another note, which reads, "AM I REAL." He slams it down on the Bible and tosses it aside. He then notices underlined text from the page the Bible is turned to:
- So God created man
- God saw everything
- sixth day.
He grabs another note, which reads, "AM I ME." He brings his attention to the clock, whose hands are stuck on 4:23. He looks inside it and sits it aside, taking one last note into his hand, which reads, "WHO AM I."
He gets up from the desk and goes to the TV stand. He opens the first drawer and finds a small hunting knife, which he tosses onto the desk. The other drawers are empty. He opens the microwave, finding nothing, then the fridge. He falls backward in fear as he finds a mannequin head and an open book inside. He hesitates, then reaches carefully inside for the book. He takes it quickly, then reaches back inside to knock the head onto the floor. He observes the book for a moment, which contains the lyrics to the 1947 song "As Long as I'm Dreaming." He tosses it aside.
He sits on the bed and looks around the room for a moment before grabbing the hoodie. He unravels it and sees the design. At the bottom right, the text reads, "BROOKLYN, NYC, Free your mind, 11-3-15." He tosses it onto the floor as the music stops and he hears an ominous breathing sound coming from the hallway. As he approaches the door, the footsteps and breathing get louder. He looks through the peephole and sees a man in a gas mask, who then turns to the door and looks back inside at him. The man walks away and he goes back into the room.
He begins removing things from the floor, throwing the hoodie back to the bed, putting the mannequin head on the TV stand, and putting the song book on the desk. As he does, loud feedback fills the room and he turns to the chair beside the bed. He hears static and looks behind the cushion. He pulls out a radio, and immediately someone begins speaking to him: "So, I see you met the jailer on the first floor. Face to face. Sorry, where are my manners? You can call me Abel. Yeah, that's A-B-E-L. And if you think this is the confusing part, you really haven't seen anything yet."
He returns to the desk as Abel continues his introduction: "Listen, I'ma do you a favor, don't worry about what day it is, don't worry about what year it is, don't even worry about what you used to know, because it's not gonna help you here."
He looks down at the notepad once more, then sits. Abel continues, "You, my friend, are a completely blank slate. Wherever you thought you were doesn't matter, it's gone. You're completely cut of from the outside world, in what would best be described as a halfway house. You're on the first floor, surrounded by oblivion, and any attempts to leave via window or entryway result in immediate termination. So between you and me, it's not really the way to go."
He continues looking over the desk as Abel continues: "It brings up the bigger question, why even leave? You've got it great here. We've got books to read, you got a better chance to get in touch with God, we've got entertainment sets, as long as you stay away from the jailer you shouldn't have any problem. At worst, there may be new arrivals that are not as quiet as you are and take some time to get used to the new location, they happen from time to time and it's unavoidable." The next thought is slightly cut off. "--persist outside the usual time frame, and continue to be a problem, we'll remove them, no problem for you. Uh, there is a little bit of bad news, umm...you know, I regret to inform you that it looks like your friend, and I say friend but she's more like a predecessor," and more static cuts the sentence off. "--was in your room and trying to communicate something with you, before she trashed it, so apart from delaying your entertainment set by a few days, umm...sorry. It's not really quite the warm welcome we wanted for you."
After a pause, he continues, "There's one thing she's right about though, it's that, yeah, time and items in this world don't really have the same kind of permanence. But, I wouldn't really look to her for, you know, role model examples." He chuckles. "Again, you know I'm talking to you, but, I'm also talking to 'you', because it's a misnomer to say you yourself have been given free will again. A better way to describe it would be that you're awake and you're properly receiving."
He looks around the room as Abel continues, "You know, I never tell any subjects this because they always refuse to believe they have anything less than free will, and yadda yadda yadda, but your case is a little bit of a special one. Your consciousness, believe it or not, is comprised of several hundred of those that participated in the original St. Louis incident. And I-- that is, it-- it's crazy. But, also no offense, we do have a bit of a death pool going on how quickly you'll try to leave the room and die. Past history has shown they don't really like doing what they're told, and it's like they don't really value human life, they just like to keep pushing and pushing and pushing, so, uhh, sorry to 'you', and uhh, but you know, if I were you, I would just stay and relax here. You really have nothing to worry about, you're totally safe here, you don't need to eat, we've taken care of all of that stuff for you, we got your entertainment set up here once we clear out all this debris, and uhh, you just need to sit back and relax and just enjoy the parameters we've established for you.
He looks toward the door one more time and the video cuts to an intro-like sequence with new Rosa dialogue: "Every time I sleep, the future plays out before me. I know the ending... it will end over and over until I cease to dream. I know your questions."
The video cuts to black, but Abel continues, "Sorry, I was getting a little bit of uhh, interference there. Anyway, I just wanted to say hi, and you know, maybe one day we can meet in person. And how 'bout that, might be nice, right?"
Gallery
The following images were used as a thumbnail leading up to the premiere:
The following text was found in the video's spectrogram:
Notes
- The spectrogram contains a message that reads, "I'VE GIVEN YOU ALL I CAN TO BREAK FREE. LOOK CLOSELY. IT'S NOT JUST HOW TO BREAK FREE, BUT WHEN - DON'T BE TOO HASTY".
