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GRAVEYARD
THE MUSEUM
So, you’ve met your end and regardless of your beliefs, the expectation is that is where things end. Rebirth. Damnation. Salvation. A simple black screen… None of those things happen; how (un)fortunate for you. How jarring it must be to have your last moments not be your final moments. On the bright side, all the injuries you’ve sustained are no longer present. You’re as good as new!
Now, whether you’ve met your end violently, peacefully, or something between the two, you’ll find yourself sat in front of a sprawling behemoth of a wall tastefully covered from floor to ceiling (where is the ceiling?) with various objects on display. All of them carefully and neatly framed or kept safe within a box attached to the wall. Not only that, but there are cages hanging from the “ceiling” that contain even more objects for viewing. However, other than the walls, the hanging cages, and the bench—there is no padding on the bench; only a cold, hard surface that does not give—you find yourself sitting on, the rest of this room is completely empty.
At least, after giving a survey of the area, it will be obvious that it isn’t an enclosed space. There is an opening to a hallway—hopefully. Only one way to find out. Spoilers, there are many, many, many other rooms that make up this place.
Oh, but just what is all out on display?
Well, it varies and depends on who is looking. The hanging cages contain skeletons of creatures from home. Whose home? Your home. It’s the same story for everything that has been framed. They’re all images, items, objects—things—from home. Your home. Fortunately, not everything is familiar as unfamiliar items are included in equal parts. How did they all get here? What are they all doing here?
Have you considered the similarities between a museum and a graveyard? Both are places where the living go to marvel at the dead.
Now, whether you’ve met your end violently, peacefully, or something between the two, you’ll find yourself sat in front of a sprawling behemoth of a wall tastefully covered from floor to ceiling (where is the ceiling?) with various objects on display. All of them carefully and neatly framed or kept safe within a box attached to the wall. Not only that, but there are cages hanging from the “ceiling” that contain even more objects for viewing. However, other than the walls, the hanging cages, and the bench—there is no padding on the bench; only a cold, hard surface that does not give—you find yourself sitting on, the rest of this room is completely empty.
At least, after giving a survey of the area, it will be obvious that it isn’t an enclosed space. There is an opening to a hallway—hopefully. Only one way to find out. Spoilers, there are many, many, many other rooms that make up this place.
Oh, but just what is all out on display?
Well, it varies and depends on who is looking. The hanging cages contain skeletons of creatures from home. Whose home? Your home. It’s the same story for everything that has been framed. They’re all images, items, objects—things—from home. Your home. Fortunately, not everything is familiar as unfamiliar items are included in equal parts. How did they all get here? What are they all doing here?
Have you considered the similarities between a museum and a graveyard? Both are places where the living go to marvel at the dead.
EXHIBIT #04 - COMFORT
Likely the first room that you’ll come across after moving from the initial room. This room feels just as grand and just as empty as that room, but at least the walls aren’t covered in things from (your) home. 
Instead, there will be surfaces to claim, if you wish. Beds, sofas, couches, chaises lounge, bean bags, you name it—if someone could consider it comfortable then it will be present in all shapes, sizes, and variations. The only real catch is that each surface will be displayed individually and cannot be moved. Obviously.
Against one of the walls is a very small plaque that reads:
[ FOR DISPLAY ONLY – DO NOT TOUCH ]
Oops.
Instead, there will be surfaces to claim, if you wish. Beds, sofas, couches, chaises lounge, bean bags, you name it—if someone could consider it comfortable then it will be present in all shapes, sizes, and variations. The only real catch is that each surface will be displayed individually and cannot be moved. Obviously.
Against one of the walls is a very small plaque that reads:
[ FOR DISPLAY ONLY – DO NOT TOUCH ]
Oops.
EXHIBIT #09 - VIEWING
What’s a museum without some sort of media installation, hm?
For this room, there is only one thing and one thing only—a projector. For much of the time the projector being on (you can’t turn it off. In fact, where is the projector?), it won’t be displaying anything but a white light on the blank wall opposite of it.
However, while the wall is blank, every so often it’s possible to hear faint voices coming from above. Especially during the night before—you know.
For this room, there is only one thing and one thing only—a projector. For much of the time the projector being on (you can’t turn it off. In fact, where is the projector?), it won’t be displaying anything but a white light on the blank wall opposite of it.
However, while the wall is blank, every so often it’s possible to hear faint voices coming from above. Especially during the night before—you know.
EXHIBIT #03 - GARDEN
It’s here that you can finally see the ceiling even if it’s still more of a “sky” than a true ceiling. 
Those with keen eyes will be able to tell that it’s an artificial sky, and, for those who are less aware, then how it randomly flickers should help with that. Or not. Regardless, the presence of a “sky” isn’t the only surprising thing about this room—it might not even be the first thing that goes noticed. Despite all the expansive and seemingly never-ending hallways that lead to rooms that are void of anything living, this room is alive. Somehow.
A small plaque on the wall will describe this exhibit as an “interactive” medium with gentle suggestions to not be too rough with anything. This exhibition will be a picturesque garden full of all kinds of flowers and plants with a small pond with lily pads and lotus located towards the center of the room. The only physical structure within this room is a very small and simple gazebo containing two chairs and a small table. Perfect for having afternoon tea—if that’s your kind of thing. However, if you were hoping to listen to any bird song, look at what animals have taken residence in the pond, or generally any other kind of life then you’ll be disappointed.
Those with keen eyes will be able to tell that it’s an artificial sky, and, for those who are less aware, then how it randomly flickers should help with that. Or not. Regardless, the presence of a “sky” isn’t the only surprising thing about this room—it might not even be the first thing that goes noticed. Despite all the expansive and seemingly never-ending hallways that lead to rooms that are void of anything living, this room is alive. Somehow.
A small plaque on the wall will describe this exhibit as an “interactive” medium with gentle suggestions to not be too rough with anything. This exhibition will be a picturesque garden full of all kinds of flowers and plants with a small pond with lily pads and lotus located towards the center of the room. The only physical structure within this room is a very small and simple gazebo containing two chairs and a small table. Perfect for having afternoon tea—if that’s your kind of thing. However, if you were hoping to listen to any bird song, look at what animals have taken residence in the pond, or generally any other kind of life then you’ll be disappointed.
EXHIBIT # — ???
Nothing is on display in this room; all that is there is just empty walls, empty “ceilings”, empty floors…
The only thing that can be found is a small, simple white card free from any kind of writing. A completely blank card. If you try to take it out of the room, it will instantly disappear from wherever it was stored and return to the room.
The only thing that can be found is a small, simple white card free from any kind of writing. A completely blank card. If you try to take it out of the room, it will instantly disappear from wherever it was stored and return to the room.
cw: suicidal ideation mention
...Lynne...she didn't remember anything of her transformation, if I recall correctly.
[Is that better? Is it worse, because he had no agency in that case?]
cw: suicidal ideation mention
[He remembers enough, it seems.
Zvei's grip tightens on her hand, the tentacles constrict around them - almost touching Amaya, but not quite - and he suddenly wants to leave. He doesn't want to see how this plays out. They won't offer him pity, they will turn on him and eat him alive—
Or maybe he'll strike first, and make them put an end to him, one way or another.
But Zvei remains rooted to the spot, unwilling to turn a blind eye. It isn't fair to Yuki to look away. It isn't fair to Seymour to pretend that this isn't happening. It isn't fair to Amaya to leave her alone with this.
He's still here. That's the most he can offer her, because there's not a damn thing he can do to stop this from playing out.]
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Yuki doesn't get the option, to run away from witnessing Hyunjung's fate. Zvei doesn't get the option of turning away, and pretending this isn't Seymour. No. She'll stay with them and witness his crimes and punishment with her own two eyes.
...She doesn't have to like it, though.]
...I pray he doesn't suffer.
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...We'll find him, when he arrives.
[It won't be fine. Not for them, not for Yuki, not for Hyunjung or Maomao, and not for Seymour either. But this is the only thing they can do for him.]
no subject
[Amaya's in full agreement, truthfully. This isn't going to be fine in the slightest, but--
Oh.
Oh no.]
W-What is that-- [Wait.] What is Miss Nala doing--?!
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...Maybe some cruel, twisted part of him wants it to. To join them all together again... or to let Seymour take his anger and frustration out on all of them because he's been beaten down again and again here.
(And in this moment, Seymour has never looked more beautiful.)
Then there's Nala, before he even has a chance to speak, and Zvei's on his feet, tugging Amaya's hand to pull her up as well, though that's not a conscious decision on his part. The tentacles writhe, displaying far more emotion than Zvei's face is doing, which is curiously blank despite the slit pupils.]
That's— [fatal, it's a fatal injury—] She—
[So it goes.]
no subject
But Nala and her knife have robbed him of that chance, and Amaya can feel herself starting to shake a bit. Seymour's joining them with certainty, now. And Nala...will they actually do anything about her?
(Can Amaya even be mad? If this is vengeance, is she allowed to? Is she allowed to be angry that one of the men she cares for, who's only ever been hurt, has been robbed by someone who they'll all think as more deserving?)
Amaya lets out a shuddering breath. Her voice is cold and dead and hollow when she speaks again.]
...She took matters into her own hands--
[Take yourself out and leave the rest of us out of your self inflicted misery!
...Oh. Amaya's nails practically bite into Zvei unintentionally and her eyes widen.]
Self inflicted?
no subject
Maybe Seymour deserves this, for taking a life. Maybe Nala is in the right to kill him. Maybe this is all perfectly understandable and acceptable to someone, but that someone isn't Zvei. Perhaps if she'd just stabbed him once, he could have been willing to look past it. Or maybe not. It's hard to tell where feelings are concerned, given how unaccustomed he is to feeling much.]
...She'd better hope she doesn't wind up here.
[Nala likely had no part in Maomao's death and likely won't end up here. But he can fantasize about it anyway, like he did with Ramuda. He has even less reason to act on this anger, and yet he can't help himself.]
no subject
She had best not. I bet they'll all jump for joy and venerate her.
[They need to find Seymour. They--frankly, they need to leave but--
He's gone.]
...I don't care about the rest of this, all of a sudden.
[It's quiet, when Amaya says it, and her look goes blank.]
no subject
For a long moment, Zvei stares, completely still. Even the tentacles have ceased their movements. And then, abruptly, they all retreat into his back as if that didn't happen. Zvei closes his eyes and exhales slowly.]
I would offer to leave with you, but I... won't leave Yuki alone. If you don't mind being on your own, it might be better to leave before the others start... praising her, I suppose.
[But if she wants to stay here with him, he won't argue it. Hell, he wishes he could leave. Throw himself back into his studies and focus on anything else. Maybe see if one of those paintings will swallow him up and transport him somewhere far, far away from all of this. But then, he wouldn't want to risk being alone. Not right now, not ever.]
Regardless, once all of this is wrapped up... I'll wait for him. He won't be alone here for long.
no subject
[...]
Please take care of Yuki, for me too. I'm going to take my leave.
[And with that, Amaya exits the viewing room. She can't stay here and watch this.]
no subject
Now, onto the hardest part. He needs to be here for Yuki, that's the most important thing now. His own feelings on any of this don't matter. Getting riled won't do any damn good and he knows it.
Still, he can't help but find himself looking at Seymour's body and wondering what could have been, if only things had played out a little differently last week. The week before. Maybe even from the start of all of this.]