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Tour of Duty: Eat the Path
Posted By: VikingBoyBillyDate: 5/18/14 2:00 p.m.

Last time on tour of duty we finished the third Electric Sheep map, this time after destroying Durandal's core, but we still have his mind in an uplink chip in our inventory. Even in our dreams. We even still have that S'pht card key we got back in Thing What Kicks - hmm.

The music I have chosen is Pilgrim from the Resurrection album. I must say it is a fitting track for the overall eerie atmosphere of the map and the terminals it presents to us.

We start off this map submerged in lava! Yikes!
We see an area with a terminal to surface and the room terraforms, raising a wall blocking access to half the room and giving us a safe floor. There's a red shield canister, but we don't need it as we still have some violet shield leftover from Hang Brain.

The terminal:



The story page comments on the flower being similar to The Rose. The terminals are telling us we're a rat in a maze and following convention is getting us nowhere. But if we break the rules, we can avert the maze entirely. The shortest path between two points is a straight line, and if we can eat through the walls in our paths to make our own path to the goal we won't end up as wormwood. At least, that's how I take it.

Let's whip out the map:

If we continue on the path on this side of the wall on the center of the room, we'll be on the easy path. Going around the wall will take us to the hard path. Let's start with the easy path.

We walk around some narrow... paths above lava. Up a lift we push a button that raises another platform above the lava connecting to form a new path. We also see a translucent s'pht who needs to be shot with fusion. After zapping it, the radar gives us a fright, but it's just a potato anus swimming along the surface.

We go up another lift and find a new button. Push the button. Make the path.

Up the next lift we turn around to see another transparent s'pht attempting to sneak up on us. We wait and deliver him a charged shot as he rides the lift. Unlike Whatever You Please, the area is well lit and makes them easy to see. I want to say the lava does a good job of illuminating the map, but Whatever You Please also had lots of lava. Okay, it had magma. Magma is more viscous, molten/hardened, and thus less glowy. Let's go with that.

We're itching for a pattern buffer right now. Where is it? Well, no pattern buffer yet, but there's some SSR missiles and a SPNKR in this room with a phasing light effect, and if we look hard enough we'll see a new creature, the Mothrid:

The thing doesn't really, uh, move at all. You can also walk through it so I guess it's a ghost. Maybe later we'll run into some that actually hover around.

Still no pattern buffer, but we find a room full of scary gray s'phts. I really hope I don't get killed.

I ran out of fusion ammo on the first shot I took and automatically pulled out the shotguns. Luckily the shotgun was a good choice for clearing them out. I hope I find zeuss some zeuss batteries on this map. This lack of a PB and the overall atmosphere of the map is making me feel some itchy, crawly tension that's driving me crazy.

In this room is a button that turns on a cool lighting effect. Uhh... thanks? Really, that's all that's in here. The invisible s'phts were guarding a light switch. In the next room with a big window outlooking a lh'owon sky are 3 s'phts hanging out over a lava pit. They don't see us, so we scramble up the stairs desperately hoping to find a PB. Oh, s'pht! They woke up! Down the narrow corridor I see it: The pattern buffer! The s'phts float over to the PB to fire at me and I pull out the flechette to get them all from a distance. That pattern buffer feels so good right now.

Now from the top of the stairs we can jump into the window into the yellow Lh'owon void and find some very interesting things.





I'm sure "quite" was meant to be spelled "quiet," but whatever. The "durability" theme is recurring and our narrator's suited pursuers are in the theatre with them. I don't know what to make of this quite yet, so I'll wait until we've read all the terminals on this map for a full crazy analysis.

If we hug the side of the wall.. sky.. whatever, we can find some more terminals.





I don't know what masticulons means, and wiktionary doesn't have an answer. But I think we can interpret from their behavior that these guys in sunglasses are not human. Or at least not normal.




dance the double helix? I'm not going to comment on what that phrase could mean.

Anyway, let's get out of this window.

Up the stairs there's this cool effect that, when we press the button in the room, the window outlooking another lh'owon sky changes into a room and opens up. I'm pretty sure the explanation is a sky texture used on a platform which raised (or lowered, I can't tell) when we pressed the button.

We're overlooking a lava pit and there's a scary gray enforcer shooting us from below, which we can murder with our pistols if we're real sharp shooters in this phased lighting. There's also some invisi-s'phts to make our life harder. We press a button, and it would seem we have no choice but to jump.

We have to cross more paths and press more switches. It would seem that falling in the lava is a no way out situation, but the floor teleports us to higher platforms, and it's here I notice that the s'phts are undetectable by the radar when I let them gang up on me which is really terrifying.

If you run too fast, you might miss it, but there's another mothered floating around that's not static!

We find another pattern buffer, and a terminal, this one marked 3.2:



This terminal is the end of the easy path and sends us to By Committee. Now the hard path.

For the hard path, we have to go back in time and restart from inside Durandal's core in hang brain. *sigh*

Anyway, when the wall rises in the first room of eat the path, we can stand on it and walk to the other side, and when we're near the top we can hop into an ammo cache in the corner. We fall down and see that we have to make a little lava swim. Did you expect the hard path to be easy?

There's some lava hops in our path, including some weird floors that have the lava texture and don't burn us. There's also a red canister that we don't really need right now because I'm awesome, but maybe it will be useful if we can get back to it. We have to make a drop down, so it might be a while until we can get to it again. As we do, invisible s'pht, teleporting ticks, and an enforcer scare the s'pht out of us as we scramble to shoot them down without slipping into the lava (this has happened to me a lot in past playthroughs, but I was lucky enough to make it in one go this time).

There's a 1x charger here if we need it, and we probably will since we're taking another swim. We swim around the corner and ride up a lift to be attacked by another invisible s'pht. The map suggests there's a terminal at the end of the walkway here, but the wall is closed. I don't think I ever read what's here or discovered how to open it (if it can be opened at all).

We just looped back. Huh? Where are we supposed to go? Well, if we ride back up the lift and turn around, we'll find an opening that's just barely visible on the wall that we have to make a running jump to. There's not much there, really. There's some nice architecture, including a lot of enforcers in lava diamonds, but it all just wraps around to the start, and maybe you can do some rocket hopping to get into the hall near the bridge, but I don't think it's worth it as it just takes up to the platform behind the window surrounded by lava, and a big tube of lava filled with nothing but lava.

There's one secret up here that I never knew about until I watched an LP of this map to see if there's anything I missed (and there's a lot of stuff in that LP that was different than my playthrough. I blame it on differences in Aleph one builds, but go watch it for some interesting stuff if you have 48 minutes to spare). You can see it on the ToD map above the end terminal, but the Spoiler Guide makes no mention of it. Pushing the wall near the entrance of this area reveals a secret room with a lava floor with lights spelling "HOME" in the lava. Grenading the switch on above the lava will light up a new word on the ceiling. The LPer mistakenly calls it "IN" but the second letter is clearly the same polygon as the "M" in Home (the I is the right side of the O). It says "IM HOME." It's funny he thought our mind would be blown by the obvious window secret, but this is the secret that actually does it for me. What does this mean? Is this the goal we've been looking for at the end of the path? Is this Durandal's home inside our mind, or have we found the place we are meant to be in this universe? Maybe it's just a mapmaker easter egg that only he understands the context of. There are a plethora of implications that are metaphorical and subjective. The old saying "a picture is worth a thousand words" can be applied well to this imagery. One of the commenters on the video thinks it says NO HOME, so who knows.

Now let's hop down the ledge and to the left to the exit of the hard path.


Also, here's a terminal I missed. Why not go back and insert it at it's location in the write up? Just for the non-linear effect ;)




The problem with the Tour Of Duty images of the terminal is that they don't include the opening and closing screens - which includes the chapter numbers of the Durability Knife story. At one point I tried to take screenshots of all the terminals on the story page and combine them in order into a single image, but it turned out to be way more work than I bargained for, so I'll just direct you to the story pages for you to read the terminals in order.

Where Are Monsters In Dreams
Whatever You Please
Eat The Path

And, finally, the Gheritt White terminal.


Gheritt White had been floating six feet off the floor for
three weeks. His feet and hands tingled, and his eyes burned
with the flames of a dying fire. He had last heard someone
speak to him as the cell door slammed shut. He didn't
remember what the uniformed man had said. The words had
bounced off the bars of the cell and rang through Gheritt's
ears. Gheritt had been talking to himself for the last few
minutes, something about getting caught, but then his ears
began to tingle just like his hands.

He looked at his hands, but the fire in his eyes made him
blink. Tears came, and when he opened his eyes again, his
hands had been melted into fleshy pancakes that wafted in the
ripples flowing over the fire in his eyes.

"Damn cell," he heard someone say. "Last time I had a good
meal was three days ago. The food they feed you in here could
kill a lab rat."

Rats. He had remembered something about rats. But his ears
began to ring again and the voice speaking to him faded off
into the background of his mind. In its place, there was a
new sound, the clapping of hands together. He blinked hard to
made out his hands again. They had disappeared; his arms
connected at the wrists.

He thought back to the time he went ice skating on a pond. He
remembered the sound of his skates on ice, a gentle scrapping.
Scrapping away now inside his ears, trying to tear down his
thoughts. There had been a woman with a white fur tube over her
hands. Her wrists were like his now. The wrists of
someone who had tried too many times to clap his hands. He
had been applauding everyone else in life, but never himself.
The hands, like himself, had been put into prison, and he
didn't know why.

"Can't sleep in here, if the smell of this musty bedroll
doesn't make you sick, then the sound of the rats chewing
inside the walls will keep you up. You'll wake up from your
dreams to their little chomping. Sometimes I think that they
are chewing me..." The voice was coming from inside the cell,
but Gheritt couldn't see anyone.

Gheritt hadn't always been alone, he could vaguely recall from
somewhere inside his broken mind that there had been friends,
lovers, murderers.

He recalled a theory he had come up with after a bloody
schoolhouse brawl. The theory was simple. At some point in
time, everyone was a murderer. Whether or not they ever felt
remorse, they had all wanted someone dead. Hatred. Everyone
knew the feeling of hatred. Gheritt had known hatred on that
schoolyard. His beater had laughed at their bloody faces, a
laugh which now echoed through his ears, rhythmically blocking
out the other voice in the cell.

The schoolyard was usually a place where Gheritt and his
friends would play football or foursquare or something, but
today, there was an edge. Maybe everyone had eaten cereal
with milk that was about to go bad, or maybe there was too
much smoke in the air from the wheeling hubcap factory.
Football had been extremely rough. Gheritt had gone to play
foursquare after he got tackled by five boys who weren't his
friends. But today, even foursquare had an evil twist. The
top square today had become habituated to making fun of the
first square. Gheritt had decided that it was an evil day.
When his beater started to push him around, he exploded.
Hatred flowed from his eyes, his hands and feet began to
tingle. All of his coordination left him, and his face was
beaten to a bloody mess. The schoolyard disciplinarian had
been slow to notice the ensuing carnage, and she didn't really
care anyway.

Gheritt would have killed him if he could have. He would have
torn out the eyes of his beater. He would have made him pay
for his abuses. But his hands had begun to tingle. He
couldn't feel his feet and he had begun to float off the
ground.

Everyone was a murderer, but Gheritt couldn't remember his
reason for why that was so. He thought it was something about
hands, the passion for justice. His hands and feet had begun
to tingle, and he was floating farther off the floor. He
looked up from his hands, and he saw the bars of the cell,
moving left and right, opening wide and then closing shut
like the surf coming up a beach. Every time that he thought
he would be safe, the bars crested up, the opening closing,
the wave rising, crashing. The result would be the same, he
would never escape. The bars would crush him, break his back.

He could feel the roughness of the sand under his palms, for
all the motion of the waves around him, his hands had come to
rest serenely upon the ocean floor. His body tossed and
flipped, pivoting about his hands under which he could feel
the safe, coarse sand. The wave crashed one final time, he
landed upside down, his hands thrown clear from the sandy
bottom, the rush of the water filling his ears, his nose, his
mouth, the sound of crashing water cascading down from his
feet to his head- penetrating his mind to tear down thoughts.
Like the sand castle he had built to withstand the tide, his
thoughts came down around him.

Gheritt had a good life, so much time, so much time. He had
loved swimming, turning, beating. He had loved the tingle in
his hands and feet, his inability to kill his nemesis. Once
he had fallen down the stairs, and just for a moment, his
hands came to rest on the carpet of the stairs. In that
instant, his body had frozen, floating over the stairs, safe
from falling, but the moment didn't last. The ocean crashed
about him, his hands torn free from the sandy bottom, his body
flipping, falling.

But now he levitated farther up, his hands still tingling. He
began to float through the bars, he expected the instant of
safety as his hands found footing, but that moment did not
come, the bars squeezed his body. His chest tingled. As he
fell through his cage, his legs tingled. The fire in his eyes
had become a cold wind, he blinked away tears. He tumbled
through the bars, spinning and turning, he could see a man.
In his hand he saw a small white rat. A pounding, the
crashing waves in his ears became rhythmical, hard. The man
was beating the rat against the floor. Pounding, pounding.
Blood covered his hands, the man's hands tingled. He had
broken them on the floor of the cell. Disciplinarian, lover,
murderer. Gheritt looked back into the cell. He saw himself,
disciplinarian, lover, murderer. He had killed his nemesis.
The rat lay dead in his bloody hands. At last, he held the
throat of his beater.

He escaped into the waves.

The waves.

Done reading? Good. Now I'm going to change my font color and call on some help for analysis.

VBB: Want to help me analyze the eat the path terminals? This durability story and hangar ninety six never made sense to me in my past playthroughs, but now it is coherent. Whether it's literal or metaphor, the implications are frightening. What do you make of it?

"I've started to ramble on now just like on the subway."

Martin:Heh, sure, just when I was enjoying not having the responsibility, and the idea of being able to comment on whatever you ably put up :). I'll go through now and do something of an ad lib; that's how I did the last lot, because I had never really made much sense of it all until this time around either ... assuming we have made some sense, and not just satisfied -ourselves- that this is the case lol.

So we were chucked out of the last timeline a little unexpectedly to be honest. We were well into the idea of playing the sides against each other, or playing something of a balancing role. From M2 experience we might have expected the next thing would be our capture, but the last words were from Durandal, and then from Thoth (or whomever), suggesting that we might be trying to avoid capture via dreams or something.

Electric Sheep Three gave us options, but the ES levels were never really about eating the path, as going backwards isn't all that appealing an option, and there's only the one case where we could actually skip a whole section. Now we're being told that we can make our own path ... this seems to be something of an awakening, a process of becoming self-aware. The start of the terminal likens us to a lab rat - what are we doing here? Well we've always been doing someone else's bidding, just running through the maze to find the button (often literally), and as recently as just before we smashed that last panel on Hang Brain, that Durandal terminal sent us right back to the beginning of the level, and we're certainly no strangers to finding ourselves starting back!

In fact, the dream levels have been the only ones where we have had a choice (outside of coop carnage breaks), and that's what they have been all about really, even if it was the harder option (last time and this time) that led us to the rather dark part of the story, although that had the effect of saving us from the sight of the end of another world. It does seem odd that going the extra mile denied us the secret (okay actually that was only for Monsters, I had forgotten), as well as denying us the dream story. Anyway, we have the chance to break free, make our own maze, cross over the bars (quite literally here as the secret path is across the big wall), and maybe be our own masters?

Despite these concepts, the two paths we can take are both rather linear, and it is more like "walk the path" than eat it. When we reach the area with the dream compilers, visible for the first time, we also meet that other ambient life creature, so I'm assuming you've got your pics ready :).

Then the story carries on, with first a brief reference to where we left off, and then an abrupt change of scene. Newly of importance, we have the candle, or is it a volcano, and the girl. And new metaphors, including what seems like a crossover between this and the hangar "story", "arms, legs, and mouths that move and mimic without purpose or understanding" - but actually those corpses were arm-less and leg-less hmmm. Maybe it's more of a comparison, an important distinction between living and not-so-living. Or maybe it's just coincidence. What is that?

The knife is also back, as is the word "durability". If we've been thinking about these somehow being stories from another mind, from Durandal's?, then this would be the time when that makes the most sense, given that the last thing we did was to store some of his mind in our own ... or something like that. Perhaps by the infinite nature of the timelines, the fact that only the game's (and possibly the mind's) limitations give us just a few, numbered Electric Sheeps ... perhaps there was another instance of our acquiring Durandal's primal pattern? Only we can't quite remember, is that it? Perhaps.

Anyway, durability, wax volcanos, geometry. The chill effect from the blade has a certain familiarity ... like it's something trying to reach into the dream to pull us out, a signal from "reality" oh boy.

Looking at the terminal order on the Story page, we get hangar ninety six again, at the end of the rather tricky secret "path". This time we get a definite link between this and the dream story terminals. First there is the connection to what I said earlier, "My existence is the demise of many others' arms and legs." Then we get the "stench of decay" - "the subtle odor of amonia destroying the bacterial rancidity of half eaten double helixes"? Subtle odor vs stench, but I guess 761 corpses would do that.... And finally, undeniably, "I haven't seen the guys in suits since they disappeared from my hallway." So this is and has been part of the same story, for all of its seemingly isolated contents, and the dream story seems to continue without notice - all this does is put a timestamp on the hangar terminal as later than the story one we just read ... but if we took the secret path, we wouldn't have seen that one in the first place!

In fact, that hangar terminal is numbered as the start of a new chapter, 3.1, when previously they followed on from the other parts of the story in the associated level. I'm not sure we have discussed their being numbered actually, or if I really took that in before.

Similarly, referring to the placings as I sent to you earlier, the next part of the story is actually the normal end, the ones out the window being extras, secrets, although not hard to find. But we'll look at them in order eh?

The chewing gum is back in the story, its having been previously in constellations on the ground in the subway. And now it is associated with this girl. There is a link to before: "I've started to ramble on now just like on the subway", but the next part gives the suggestion that the girl was there in that scene as well, which certainly wasn't the case as we read it! So is it more so that the introduction of the girl to the story is the dream metaphor of Durandal into our mind? And this telling does something of a "1984" on us - the idea that she is here now means that she was always there. The items in the earlier parts of the story keep coming back - the chewing gum makes more sense associated with a person, and perhaps she had spat it out onto the ground in the retold past, and this had caused the protagonist "concern" shall we say....

The idea of ends justifying means also works well with the idea of communication between us and Durandal. We have his ends and means in M1, getting hold of Pfhor technology meaning putting a lot of human lives in jeopardy. In M2, recovering the Eleventh Clan meaning killing a lot more Pfhor, and ultimately the Lh'owon system suffering the consequences in the form of the trih xeem and w'rkncacnter. And all of that speaks to the apparent guilt of the hangar terminal - we did it and could have stopped it, but until now we had no idea what that really meant.

We jump out the window, and continue the story, beyond that which takes us to the next level. The scene once again dissolves from the dining room with a nice bit of writing - just as the clones outside the door dissolved, or did they end up in the hangar after all? Or in this cinema ... suddenly everyone is sunglassed and toupeed, much like certain men we met earlier in the story. And ... oh god, this is where it's going to be really tricky lol. Not only do we have these men mimicking our own? actions, again linking to the idea of this being either the concept of our actions in multiple timelines or that of our multiple retries; but then we have the gum again, and it changes back from gum into the earlier metaphor of constellations - I'm not quite sure how that all relates except for driving home the concept of the clones. Is the idea of the constellations related to space? Another thing trying to pull us out? Durability again breaks the scene, and we're back to the knife.

It's like we're back at the very first dream scene from Monsters, only viewing it from a slightly different perspective; earlier the big guy just collapsed and was vomiting having held us up from going to the movie, which we've only just gotten to in the story, as that really did get in the way. Now, is that the scene we look upon as other "brats" fighting - was it our involvement that was an option? If we just passed on by, we might have got to the movie without all that inconvenience of subways, clones, chewing gum? But the clones are here too, as are the sunglasses, and durability. "What I've been hearing from the stars for years" - the constellations? "We must learn how to reproduce what we do and how we do it" - well, we usually do that via pattern buffers, but the Electric Sheep levels gave us specific options to reproduce what we had done ... and in general with the different timelines, things have been reproduced, only with differences. "The artist is more free to act when discipline has taught him his skills and limitations." Well, we're looking to be more free to act. We've been following orders for the most part, and we have not made much progress with it. Durandal, Tycho, Durability, Discipline, Destiny. Now it's our turn.

As to figuring out what that really means, well, PS is going to do By Committee :).

VBB: I did acknowledge the numbering of the terminals in the write up. What's weird in this map is we don't get just one chapter. We get one terminal numbered as 2.1, which is weird since it already exists on Whatever You Please. Is that a typo? We also get 3 for the rose terminal, 3.1 and 3.2 for the exit terminals, and in the void window, 4.0, 4.1, and 5.

What did you find in the room with non-invisible s'phts? Forgive me for repeating myself (as Martin hasn't read the write up at this point in time), but it was just a big empty room with a fancy light button. Is it supposed to have meaning? Like it represents burning one of the metaphorical candles of time passing? Or the candle in the center of the woman's face? (which is a terminal I missed on my playthrough. I blame it on my not using your ToD maps until after I'm done. It was behind me in the room with the static mothrid). The end which justifies the means? The means of killing dream s'phts to the end of turning on a light? Makes me feel guilty, thinking of it like that.

The only symbolism that's not subtle in these stories is the alliteration of "Durability" with Durandal. It's the name of the knife, and it's even described as a broadsword, which is blunt when you know what Durandal was named for. Is the girlfriend Leela? Is the Toupee'd guy Tycho? In some capacity the men in suits could be pfhor and the 761 bodies are murdered innocents, but who is the teacher in terminal 5.0? Why is there a map of Europe on the last entry? Is the subway the marathon? Are the gum constellations Tau Ceti? Is your home Boomer? Is the movie theatre Lh'owon where we view the end of the universe? Is hangar ninety six our dream state? Who are all these sanitation workers? Is this all meaningless drivel Bungie and Double Aught wrote just to screw with our heads?

About the theme of switching sides, we started with Durandal in marathon 2 and in the prologue, then switched to Tycho in Despair, flipped back to Durandal and then Tycho again in Rage, so this leads us to expect we'll be back on Durandal's side in the timeline when we get to Envy. Sorry to steal some of Perseus Spartacus's thunder (and for spoilers, as if someone reading this hasn't played Marathon Infinity), but in By Committee we wake up in a prison that's not unlike The Big House where Tycho informs us that us destroying Durandal's core is a thing that happened, seeming to continue from the last timeline, and enlists us to free him from containment and do his bidding if we want to escape. But Durandal left an integral part of his mind inside our skull that the pfhor have been trying to crack open while we were unconscious.

That leads me to a theory...Is this dream what we're experiencing while the pfhor are probing us for Durandal's mind? This suggestion on it's own doesn't make sense when the other timelines are left unaccounted for, but what if those are more dreams? Everything after Begging For Mercy could have been our unconscious dreams and we're only now waking up to a reality where we have destroyed Durandal's core and are forced to rely on Tycho in this battle with the pfhor until we can find some way to get Durandal out of our brain. It's just as plausible as any other theory in this jumbled up mess of a story.

I'll try to explain the terminals as if they are a real story and not just a mashup of drunken symbolism Bungie and Double Aught wrote one late night and then split into multiple parts for Infinity. If you look at chapter 5 and Never Burn Money's secret terminal next to each other they feel like they could be in the same reality.

It seems to be describing a corrective discipline school of some sort. Whatever these men in sunglasses are, I don't think they're human. That mimicking scene in the theatre was very simulacrum-like. They've been chasing our hero from the beginning, with killings happening offscreen before the hangar ninety six terminals, and by chapter 5 they finally caught him and assimilated him into this school, but didn't take his knife. Is this the life the security officer (gheritt white) had when he was alive? Getting suspended in the air sounds like getting put into stasis and he had a lot of battles. Are these the subconscious memories he has left after getting his bones replaced by titanium and his brain got a reboot? So much to speculate on. If we go with these terminals coming from Durandal after putting his personality inside our head when we destroyed his core there's a whole lot to talk about there.

Martin: I hadnít quite realised the duplicate 2.1 - although the Story page reports the WYP one as being @2.1, to be fair lol. The EtP one is some kind of continuation, but he was very much alone in the previous part. WYP also had the secret ending as 2.2 - like this story is also working on different timelines, and using the Hangar as we use our Electric Sheep, to choose another timeline, but the protagonist arrives at the new 2.1 with memories of the previous story, the clones outside his door and such. Donít think Iíd picked up on that before.

Iíve not gone into symbolism based on rooms on the map Ö so youíre on your own there, but Iíll have a look :).

I also sort of felt that chapter 5 was a reboot of the very first dream terminal, rather than being later on. Definitely plenty of room for discussion. Maybe more than ever before....

Well, I think this write up has gotten long enough (and it took more than long enough to publish, sorry for that). Without further ado, let's close this out and view the destruction of a timeline one last time.

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Replies:

Tour of Duty: Eat the PathVikingBoyBilly 5/18/14 2:00 p.m.
     Re: Tour of Duty: Eat the PathMartin 5/18/14 3:13 p.m.
     Re: Tour of Duty: Eat the PathPerseusSpartacus 5/18/14 7:30 p.m.
           Re: Tour of Duty: Eat the PathMartin 5/18/14 8:20 p.m.
     Re: Tour of Duty: Eat the PathHopper 5/19/14 5:38 a.m.
     Re: Tour of Duty: Eat the PathHokuto 5/27/14 3:41 a.m.
     Re: Tour of Duty: Eat the PathConroy 4/10/15 2:12 a.m.
           Re: Tour of Duty: Eat the PathConroy 4/10/15 2:15 a.m.
                 Re: Tour of Duty: Eat the PathVikingBoyBilly 4/10/15 11:13 a.m.
           Re: Tour of Duty: Eat the PathBob-B-Q 4/10/15 8:05 a.m.
           Re: Tour of Duty: Eat the PathJabberwok 4/11/15 6:44 a.m.
                 Re: Tour of Duty: Eat the PathJabberwok 4/11/15 6:50 a.m.
                       Re: Tour of Duty: Eat the PathMartin 4/11/15 3:24 p.m.
     Re: Tour of Duty: Eat the PathJabberwok 4/11/15 11:33 p.m.
           Re: Tour of Duty: Eat the PathVikingBoyBilly 4/12/15 4:22 p.m.
     map of FranceJabberwok 4/12/15 1:50 a.m.
           Re: map of FranceHokuto 4/14/15 2:00 p.m.

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