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[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
______ ____ ____ ______ _ ______ ____ ____
| ____| / __ \ / __ \ | ____|| | | ____| / ___\ / ___\
| |___ | /__\ || / \_|| |___ | | | |___ | |___ | |___
| ___| | __ || | _ | ___| | | | ___| \___ \ \___ \
| | | | | || \__/ || |____ | |____ | |____ ___| | ___| |
|_| |_| |_| \____/ |______||______||______| \____/ \____/
{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}
____ __ _ _____ ____ _ _
______ ______ ______
/ __ \ | \ | || __ \ \\ / __ \ | | | ||__ __|| ____||__ __|
| /__\ || | \| || | \ | / \ | / \ || | | | || | |___ ||
| __ || | | || | | | /||/ | | | || | | | || | ___| ||
| | | || |\ | || |__/ | \ / | \__/\|| \__/ | __||__ | |____ ||
|_| |_||_| \__||_____/ \\ \___\_\ \____/ |______||______| \/
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}{}
++=================================================================++
|| ||
|| Faceless and Quiet ||
|| Game Mechanics Guide and Common Queries ||
[] []
|| By Link_Cable_Haunter ||
|| Last updated October 19, 1999 ||
|| ||
++=================================================================++
/--/---------------------------------------------------------------\--\
/ / \ \
( ( Table of Contents ) )
\ \ / /
\__\===============================================================/__/
| | | |
| | | |
| | [1.0] Version History | |
| | | |
| | [2.0] Introduction | |
| | [2.1] The "Story" | |
| | [2.2] Major Characters | |
| | | |
| | [3.0] Mechanics Overview | |
| | [3.1] The "Fully-Attuned Quote" System | |
| | [3.2] "Stages" | |
| | [3.3] Endings | |
| | | |
| | [4.0] Unintentional Scenarios | |
| | [4.1] "Hauntings" | |
| | [4.2] Permanent Alterations | |
| | | |
| | [5.0] Common Queries | |
| | [5.1] Basic Questions | |
| | [5.2] Spoiler Questions | |
| | | |
| | [6.0] Credits | |
| | | |
| | [7.0] Contact & Legal | |
| | | |
\ \ / /
\ \_____________________________________________________________/ /
-----------------------------------------------------------------
__ /------------------------------------------------/
|- aceless & Quiet / Version History [1.0] /
| =====================/================================================/
Version 0.1 - January 6, 1999
First draft complete!
Version 0.2 - January 7, 1999
Tweaked Mechanics section, also added section on Unintended Scenarios
Version 0.3 - January 15, 1999
Added section on common questions after feedback
Version 0.3.1 - February 2, 1999
Haven't been able to make any big additions, sorry; minor typo fixes
and additions, added "Reflections"
Version 0.3.2 - February 6, 1999
Minor typo fixes & additions
Version 0.3.3 - February 21, 1999
Minor typo fixes & additions
Version 0.3.3.1 -
Minor typo fixes
Version 0.3.3.2 -
Minor tyop fixes
Version 0.3.3.2.1 - March 31, 1999
Minor typo fixes & additions
Version 0.9 - June 1, 1999
After many setbacks, guide is finally complete
Version 1.0 - October 19, 1999 - FINAL
Contact details updated
__ /------------------------------------------------/
|- aceless & Quiet / Introduction [2.0] /
| =====================/================================================/
Hi all, LCH here with another guide. This one was tricky to put together -
F&Q is already a pretty obscure game, and the lack of existing guides makes
it that much harder to verify which parts of the game have an effect on
others (huge credit to my friend DoppelGengar's Character Guide, which is
still being updated!).
This guide is designed to help you understand the game's more arcane
mechanics, as well as a few bugs and similar unintentional scenarios in the
game. I can't guarantee that it's absolutely thorough given the breadth of
F&Q, but it covers everything I've personally encountered over many
playthroughs. Seriously, I love this game.
And while I'm happy to at last be putting this together, it also comes with
some unfortunate news: this will be my last guide. I've had some personal
issues crop up in my life over the past year, and I don't think I'll be
around to complete another. Thank you to everyone who sent well wishes;
they really helped put things in perspective. And thank you to everyone who
has supported my work. I hope it's all been worth it.
_______________ _________
\ The "Story" \ [2.1] \
\~~~~~~~~~~~~~~~\~~~~~~~~~\=================================================\
Yes, in quotation marks! F&Q has a fantastic narrative to piece together,
but I'd be hard-pressed to call it a proper story. At the same time, I also
want to take care with major plot revelations.
It would be impossible to avoid them entirely in a guide like this, but
I'll take care to mark them accordingly and only disclose any necessary
details. If you want to know more (and I hope you do!) you'll just have to
play the game.
That said, I think the blurb on the back of the case sums it up best:
"Long after the end of the world, an advanced robot pieces together events
from the days before the apocalypse. Use your powers of analysis to
reconstruct personas, borrow skills, and even speak with the dead. But be
wary - what you learn could change you forever."
/=============================[ REFLECTIONS ]=============================\
[ ]
[ Because of the often-abstract nature of the F&Q's narrative, I've ]
[ decided to also include these "reflections" to offer my own thoughts ]
[ and commentary on certain aspects of the game. These asides are pure ]
[ opinion and you can skip them if you like, but I hope someone finds ]
[ them helpful! ]
[ ]
[ That said, I love the framing narrative of the apocalypse. It's an ]
[ interesting design choice, being removed from the true action like ]
[ that. You really understand the characters when they start expressing ]
[ feelings of helplessness and loneliness. ]
[ ]
\=========================================================================/
____________________ _________
\ Major Characters \ [2.2] \
\~~~~~~~~~~~~~~~~~~~~\~~~~~~~~~\=========================================\
The world of F&Q is surprisingly detailed, but the most fleshed-out aspect
is the starring cast of characters. Obviously this section won't cover
every individual (again, check in with DoppelGengar's Character Guide!
She's even planning to add an entire section on characters who are only
mentioned!), but here are the most notable faces.
Serial Number 00019Y / "the Robot"
----------------------------------
N/A - 180cm
---------------------
A small, unnamed robot tasked with uncovering the events at Psi
Station before the world fell apart. Despite not having much of a
personality themselves, they can pick up traits (and more!) from the
other characters.
You - yes, you! The Robot is the main playable character in F&Q,
though thankfully they're pretty cute. Fun fact: that part dangling
off their back isn't a tail - it's a plug! You can see them plugging
in whenever you stop at a save point. Adorable.
Andrew D. Motte / "the Youth"
-----------------------------
19 - Sept. 10 - 184cm
---------------------
A hygiene officer who worked at Psi Station, Andrew is a bright but
reclusive individual who enjoys retro games and pickles. As a lower-
ranking crew member, most of his Stages center on encounters with
other staff or his insecurities rather than the deeper mysteries of
the Station. However, his role is much larger than it first appears...
Andrew is one of my favorite characters, and I think his arc is one of
the most fascinating parts of F&Q, even if it leaves a lot of
questions unanswered. Oddly, his official moniker is "the Youth"
despite being 19 years old (though I guess that's younger than any of
the other characters).
Bartimaeus "Bart" Malheur / "the Philologist"
---------------------------------------------
42 - Aug. 3 - 167cm
---------------------
A researcher and expert linguist at Psi Station, Bart spends most of
his time holed up in Lab Echo either studying or drinking copious
amounts of tomato juice. He was looking to make a name for himself
with this research, but he's oddly impatient with his work.
Easily the funniest character in the game, Bartimaeus (or "Bart," as
most characters call him) can be a breath of fresh air when things get
tense. He's also the most open researcher at the Station (especially
given the... temperament of the Doctor) so he also provides a lot of
clues about the deeper narrative. A shame he likes tomato juice so
much - that stuff is NASTY, clams or no.
Natasha Amandou / "Ara Dollia" / "the Agent"
--------------------------------------------
51 - Feb. 2 - 177cm
---------------------
Natasha is a strict and impartial woman, serving as a key
administrator at Psi Station. Her role, both in her profession and in
the story, involves a great deal of secrecy and subterfuge. While her
deeper motivations can be discovered through careful observation, her
primary objective is the continued operation of the Station - and she
will let nothing stand in the way of that.
I remember disliking Natasha during my earliest playthroughs, but
she's really grown on me, especially since beginning this guide. It's
interesting, to me, how small details learned later can cast a
character's earlier actions in an entirely new light. Also - and this
might count as a spoiler - she's apparently a fan of freeze-dried
pudding, and I have to admit that now I want to try some.
Sarah Chevalier / "the Officer"
-------------------------------
36 - Apr. 16 - 196cm
---------------------
Diligently patrolling the halls of Psi Station, Sarah is an imposing
figure. Recently promoted to a security lead following the untimely
departure of her predecessor, she takes her role seriously but
maintains a sweet, gentle demeanor with her coworkers. The stress of
her job is clearly mounting, however - her addiction is an open secret
across the Station.
Poor Sarah. Poor, kind, considerate, tender, Sarah. The more you learn
about her circumstances, the worse you feel. She provides an
interesting middle ground between the other characters, so her Stages
tend to be the most socially-inclined. It really makes you think
things could have turned out differently if people just listened to
each other - but then I guess we wouldn't have a game.
Dr. Christopher Date / "the Doctor"
-----------------------------------
55 - Nov. 28 - 188cm
---------------------
Easily my least-favorite character, and a freak to boot - oops, those
are from my personal notes! How did those wind up in here? Anyway...
Dr. Date is one of the lead researchers at Psi Station, tasked with
investigating an unusual phenomenon. Much of his methodology, goals,
and personality remain a mystery for most of the game, but he can
loosely be described as insensate and curious.
Despite only appearing late in the game, the Doctor makes one hell of
an impression. It's at least interesting, to me, that among so many
complex and multi-layered characters he's so utterly committed to a
single idea. Honestly? He's terrifying.
??? / "Andrea" / "the Specter"
------------------------------
?? - Oct. 19* - ???cm
---------------------
An enigmatic figure that only appears under specific circumstances...
and that's all I can say without revealing massive spoilers!
[*According to a possibly-canonical source; see "Alternate Documents?"
under "Permanent Alterations" ([4.3]).]
Like I said, these are only the major faces of F&Q and there are plenty
more you'll interact with throughout the game. Quote Studios did such a good
job of creating a swath of fascinating characters, and even if I can't
talk about them all, I do want to mention some of my favorites.
Morgan, the Security Director, isn't present in every Stage, but she's
always helpful when you can find her (check near the Brig Access).
Wellness Coordinator Gabi is HILARIOUS - I highly recommend checking in at
the Management Sector for a good joke in (almost) every single Stage!
Except when playing as Dr. Date, of course. He wouldn't know a good joke if
it bit him on the ass.
And of course, Assistant Xenolinguist Researcher Ani gets some great
scenes, particularly helping Bart carry out his analysis. She's a
sweetheart, and you can discover that the mural in the Research Division
Entryway was painted by her! I love those kinds of details.
______________________ ___________
\ The Archive Memory \ [2.2.1] \
\~~~~~~~~~~~~~~~~~~~~~~\~~~~~~~~~~~\=====================================\
I was hesitant to include this section in the guide - I had considered
mentioning it only in passing - but DoppelGengar thought it was important
enough to include that she changed my mind.
The Archive Memory (called The Archive Manual in the game manual, for some
reason) is the computer program/hologram that the Robot interacts with
throughout the game, particularly during the opening and ending cutscenes.
The Archive has no set appearance, being a bundle of white light that forms
small duplicates of the characters it is discussing or, more commonly, a
simple reflection of the Robot.
More directly, it also appears to record your progress whenever you stop by
a save point. Here, it can also be accessed to view your Fully-Attuned
Quote System (detailed below, [3.1]) and to review the events of
previously-witnessed Stages ([3.2]]). These functions can be handy if
you're struggling to find the next narrative thread.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ While the Archive Memory isn't really much of a "character," I still ]
[ thought it would fit in this section better than Mechanics, as it ]
[ does have a personality and influence on the story. ]
[ ]
[ I always liked that concept - the super-intelligent being that still ]
[ has questions. There's something refreshingly honest about that. No ]
[ one source has all the answers. It's more about the questions we ask ]
[ and how we handle the things we learn. ]
[ ]
\=========================================================================/
__ /------------------------------------------------/
|- aceless & Quiet / Mechanics Overview [3.0] /
| =====================/================================================/
____________________________________ _________
\ The "Fully-Attuned Quote" System \ [3.1] \
\~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~\~~~~~~~~~\=========================\
One of the most unique aspects of F&Q is the core gameplay mechanic, the
Fully-Attuned Quote system (they really liked that acronym, huh?). It
determines what things you learn (and even how you learn them!), as well as
your relationships with other characters and, of course, the events of the
plot and ultimately the ending you receive.
While it might seem a little nebulous on the surface, the FAQs can be
summed up like this: the more you learn about a character, the more of
their traits you adopt - including your own vocabulary! Yes, even trying to
research topics and hold a half-decent conversation are dependent on how
much you've picked up from others!
This is done through reading a character's notes, logs, or similar
writings, but there are also a few scattered incidents like finding their
personal effects or discovering their important locales that might provoke
thoughts that also influence the Fully-Attuned Quote system.
After reaching certain thresholds in the FAQ system with a given character,
you are able to "see" specific events from Psi Station's past. You will
experience a memory that they lived through and play it for yourself. The
game calls these events "Stages." For example, after learning some basic
information about Andrew, you're given the opportunity to play through a
Stage of his first day of working at Psi Station – this is typically the
first Stage a player will experience. More on this in the Stages [3.2]
section.
The sheer scope of the FAQs means that trying to put together a
comprehensive list of all possible interactions would be nearly impossible,
though I remain hopeful that someone will crack it someday. And because of
how open-ended the plot is, even trying to compile plot-essential
information isn't much easier. Instead, I've elected to point out the most
common uses of the system to assist you in your own playthrough.
Names
-----
One of the most important functions of FAQS is using it to identify
new names and concepts; the mere act of learning a new character's
name, for example, allows you to bring it up in conversation and
search the station's decrepit data banks for more leads. Be sure to
keep an eye out for unfamiliar references - they almost always lead to
something more.
Knowledge
---------
Once you've learned about new concepts and characters, you're free to
use that information to assist in exploring both literally and
figuratively. For example, in one of Natasha's Stages she discusses
the unreliable waterproofing in one of the Access Halls and how often
the breaches require repair. Learning this grants you the literal
information on how to fix them (allowing the Robot to restore the
Maintenance Node in Lab Thymos), as well as the broader idea of
'drowning' needed to discuss Sarah's bad habits with her.
Skills
------
Yes, in a few places the FAQ System allows you to analyze someone so
thoroughly that you actually acquire one of their skills. I've heard
it said that each major character is supposed to have an associated
skill to impart, such as Natasha's talent for picking locks, but as
far as I'm aware that's not true. One character doesn't, and the less
time spent with him the better.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ This always struck me as one of the most interesting parts of the FAQ ]
[ system. The ability to pick up on someone's experience, secondhand. ]
[ Even the Archive Memory points out how much is made possible by the ]
[ Robot being able to learn so much, so fast. ]
[ ]
[ There are so many things I would love to try - games mostly, but I've ]
[ always admired calligraphy - that I just don't know if I'll ever get ]
[ the chance to try. Wouldn't it be so eye-opening, being able to share ]
[ an entire experience? To share our time so directly? ]
[ ]
\=========================================================================/
Stages
------
See the "Stages" [3.2] section below.
____________ _________
\ "Stages" \ [3.2] \
\~~~~~~~~~~~~\~~~~~~~~~\=================================================\
"Stages" are flashback-style segments where you take control of a character
with whom you've particularly connected in the FAQ system. They generally
involve interactions with other characters, small environmental puzzles,
and potentially other elements as you learn (and shape!) the history of Psi
Station.
Below are tables of each Stage in F&Q, or at least every one which I've
discovered. Worth noting is that, although this list replicates the one
presented by the Archive Memory, not all Stages must necessarily be viewed
in numeric order.
___________________
| Andrew's Stages |
+=========================================================================+
| Number | Name | Location |
+-------------------------------------------------------------------------+
| #1. | Mercurial | Collapsed Entry Hall |
| #2. | Ianna | Living Quarters Thoroughfare |
| #3. | Earth | Galley Access Hall |
| #4. | My Red Star | Buried Custodial Closet |
| #5. | Guru | Lab Echo |
| #6. | Saturdays | Andrew's Quarters |
| #7. | The Sky | Hadal Observation Deck |
| #8. | Janus | Sanitation Office |
| | | |
+=========================================================================+
_______________________
| Bartimaeus's Stages |
+=========================================================================+
| Number | Name | Location |
+-------------------------------------------------------------------------+
| #1. | Kolomyika | Lab Echo |
| #2. | Nie-ching-t'ai | Bartimaeus's Quarters |
| #3. | Zeitgeist | Flooded Morgue |
| #4. | Lacrimae Rerum | Storehouse Ruins |
| #5. | Nepantla | Hadal Observation Deck |
| #6. | L'appel du Vide | Sealed Airlock |
| #7. | Minu Ga Hana | Communications Array |
| #8. | Mazuku | Viewing Gallery |
| #9. | Sidpa Bardo | Lab Echo |
+=========================================================================+
__________________
| Sarah's Stages |
+=========================================================================+
| Number | Name | Location |
+-------------------------------------------------------------------------+
| #1. | Paradise | Communications Array |
| #2. | Bellini | Medical Wing |
| #3. | Old Fashioned | Research Division Entryway |
| #4. | Stinger | Galley Stockroom |
| #5. | Sidecar | Sarah's Quarters |
| #6. | Horse's Neck | Collapsed Entry Hall |
| #7. | Alexander | Brig Access Hatch |
| #8. | Rusty Nail | Monolith Antechamber |
| #9. | Golden Dream | Hadal Observation Deck |
+=========================================================================+
____________________
| Natasha's Stages |
+=========================================================================+
| Number | Name | Location |
+=========================================================================+
| #1. | Repertoire | Hadal Observation Deck |
| #2. | Crepi il Lupo | Head Researcher's Office |
| #3. | Pepin | Overgrown Aquaponics |
| #4. | Santhanagopalam | Communications Array |
| #5. | Glass Unicorn | Viewing Gallery |
| #6. | Kayfabe | Monolith Antechamber |
| #7. | Dramaturge | Natasha's Quarters |
| #8. | Oshiguma | The Hidden Laboratory |
| #9. | Un'Altra Volta | Communications Array |
+=========================================================================+
_________________
| Date's Stages |
+=========================================================================+
| Number | Name | Location |
+=========================================================================+
| #1. | Snow | Head Researcher's Office |
| #2. | Sinew* | Thermal Vent Access |
| #3. | Specter | Flooded Morgue |
| #4. | Serpent | The Hidden Laboratory |
+=========================================================================+
[*A word of warning: this Stage potentially contains a graphic depiction of
sexual assault (in fact, you have to have certain FAQ concepts like
"restraint" in order for Date to NOT follow through on it). F&Q's content
rating makes note of this, but it can still be a horrifying surprise for
the unprepared.]
________________
| Other Stages |
+=========================================================================+
| Number | Name | Location |
+=========================================================================+
| #1. | Lost Memories I | Generator Logos |
| #2. | Lost Memories II | Generator Thymos |
| #3. | Lost Memories III | Generator Eros |
| | | |
| FINAL | End (see "Endings" [2.3]) | The Monolith Chamber |
| | | |
| | ??? / "Andrea" / "Hades" | Collapsed Entry Hall |
+=========================================================================+
___________ _________
\ Endings \ [3.3] \
\~~~~~~~~~~~\~~~~~~~~~\==================================================\
Please note that this section, obviously, contains spoilers! I'll try not
to reveal too much, and I highly recommend that you play them for yourself.
Every ending begins by entering the Monolith Chamber after reactivating the
three main generators (Logos, Thymos, and Eros) and watching the Stage that
follows. Depending on your actions beforehand (detailed below), you will
discover the events that led to the destruction of the Station, as well as
the fate of the Robot following these revelations.
______________________
| Ending A - "Alone" |
+======================+
This is the default ending, achieved if you didn't meet the criteria
for any of the other endings. Because of this, it's not uncommon for
people to get this ending and not understand what's happening.
The berserk Dr. Date forces Andrew into the Chamber at gunpoint and
demands that he reach out to the Monolith. With varying degrees of
reluctance (depending on your actions beforehand), Andrew ultimately
complies. To the confusion of the Doctor, however, Andrew begins
speaking to an unseen presence about being "incomplete". Enraged, the
Doctor shoots him dead. Bastard.
The doors to the chamber are forced open as the Station begins to
shake, and one of the other characters (Natasha > Sarah > Bart, in
descending priority based on FAQ values) will enter with other
security officials and apprehend Dr. Date, though all are forced to
flee as the Station begins to collapse. Left alone, the dying Andrew
reaches out to the Monolith one more time, asking who is on the other
side before the Stage ends.
Back in the future, the Robot is free to explore the empty Monolith
Chamber, but there are no interactable elements. On leaving, there is
a brief cutscene in which the Archive laments the tragedy of the
Station, then powers down the Robot permanently. Roll credits.
_________________________
| Ending B - "Betrayal" |
+=========================+
If the criteria for no other endings are met but Bart, Sarah, or
Natasha has maxed-out FAQ values or Andrew has died in a previous
Stage (namely "Janus" or "Serpent"), this is the ending that will
play. Uniquely, this ending actually encompasses three separate
scenarios, with largely the same events but each centering on a
different character.
In the event of a tie, the order of precedence is B1, B2, and then B3.
Each of the endings begins with Dr. Date leading the respective
character into the Monolith Chamber, each under different
circumstances (including your previous choices throughout the game).
B1 - Bartimaeus
---------------
Bart is led into the Chamber by the crazed Dr. Date, who seals the
blast door behind them. The Doctor refuses to leave the Chamber until
they've learned something of worth, and demands that Bart attempt
further analysis of the Monolith. When this provides no answers, Date
orders him to reach out and touch the Monolith. On pain of death, Bart
does so.
The scene darkens, and what follows is mostly a conversation between
the two, though Bart sounds... strange. The Doctor presses him for
information but Bart instead tells a strange story about a winged
creature that can't decide if it's flying or drowning, before slowly
spiraling into nonsense. The scene returns to normal, though now both
Bart and Date are dead on the floor, drenched in blood. The Station
shakes and an evacuation alert begins.
In the future, the Robot discovers a dried blood sample from
Bartimaeus, beginning a short Stage-styled cutscene where Bart tells
you a little more about himself and his life after his diagnosis. He
concludes by saying he spent his whole life looking for words, and
"can't wait to shut up for a while." Afterwards, the Archive wonders
if words alone can change something as violent and impulsive as a
person, and the Robot permanently powers down. Roll credits.
B2 - Sarah
----------
Alarms blare as Dr. Date enters the Chamber hurriedly, followed by
Sarah. The Doctor explains that the Monolith has become unstable and
he needs her help to contain it, but smirks once her back is turned.
He instructs Sarah to touch the Monolith, which she initially
refuses. Once Dr. Date assures her that her son will be told of her
"heroic act" and will be subsequently "compensated beyond compare,"
Sarah relents and touches the Monolith.
After a moment's confusion, Sarah realizes that her consciousness has
left her body, and she can only hazily see Psi Station around her. Her
character model, now translucent, steadily grows larger. As her
ethereal form dwarfs the Station, she wonders if the change will ever
stop.
The next scene plays out almost identically to B1; a cut back to the
Monolith Chamber and the bloodied corpses of Sarah and Date, followed
by the evacuation sirens.
In the future, the Robot enters the Monolith Chamber to find that a
group of scaly, nipping creatures has found a way into the ruins and
built a nest. They aren't interactable, but they grow more agitated
the closer you get. On leaving, the Archive considers that some life
will always persist, no matter how dire. The Robot is then
deactivated. Roll credits.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ Despite Ending B2 taking precedence over B3, the game is clever ]
[ enough to remember if Sarah is indisposed. If, during your ]
[ playthrough of her final Stage, Sarah must be treated for poisoning, ]
[ she will be confined to the infirmary and the game will default to ]
[ Ending B3 instead. ]
[ ]
[ While this is a neat bit of trivia, I can't recommend it as a means ]
[ of viewing Ending B3, if only because it adds epilogue text regarding ]
[ Sarah's subsequent paralysis and her falling out with her son. It's a ]
[ surprisingly heartbreaking sequence in an already-sad story, and her ]
[ final letter to him where she talks about 'barely recognizing herself ]
[ any more' chokes me up every time I read it. ]
[ ]
\=========================================================================/
B3 - Natasha
------------
The blast doors open and Natasha and Dr. Date enter the Monolith
Chamber together. The Doctor explains that the Monolith has grown
unstable and damaged the generators, further accelerating a potential
disaster. He suggests that Natasha make contact with the Monolith,
potentially averting a crisis.
Natasha, however, calls him on this: she accuses him of exploiting the
crisis to further his research, and posits that touching the Monolith
will almost certainly result in her own death. In a chilling moment,
the Doctor confirms that he doesn't care if Natasha dies and will
happily use whatever data he can glean from the experience - he knows
that Natasha's ultimate directive is the continued operation of the
Station, even at the cost of her own life. Disgusted and horrified,
Natasha reluctantly agrees to reach out to the Monolith.
Immediately afterwards, Natasha sinks to her knees and laughs
hysterically. Dr. Date draws his gun and demands to know what she has
discovered, but Natasha only replies: "We were such idiots, thinking
we could fix it. We've already left it behind." She then asks the
Doctor if he thinks there is any other way for "this" to end.
The screen flashes, and both characters are now lying, blood-soaked,
on the floor of the Monolith Chamber. As evacuation orders are given
over the intercom, the dying Natasha crawls over to Dr. Date and
begins pummeling his corpse until her body completely gives out.
In the future, the Robot enters the Monolith Chamber to find a sealed
breach and several skeletons. The Archive Memory suggests that someone
may have known about the Monolith's last known location and had
attempted to find it before perishing. The Archive then muses it may
have to "look elsewhere" before permanently powering down the Robot.
Roll credits.
_______________________
| Ending C - "Craven" |
+=======================+
Let it be said: I don't like this one.
It can only be seen if you've completed each of Dr. Date's Stages and
chosen the "correct" answers during the conversations at the end of
each.
In order, from first to fourth, they are: "The easiest way to study
something is to break it"; "Small things deserve to struggle"; "It
will put the world in our hands"; and "All else is expendable. I'm the
only thing that's real." Additionally, you must have read the
"Analysis - Monolith" file in the Hidden Laboratory during his third
Stage, "Specter."
This ending is unique in that it doesn't begin with the events that
destroyed Psi Station. Instead, it follows a series of flashbacks
centered on Dr. Date, all of which take place in the Monolith Chamber.
They begin with the construction of the Chamber and his first attempts
at research, but gradually spiral into more desperate attempts at
understanding the Monolith. To this day, the scene where he brings in
the caged animals trips my gag reflex every time.
After a string of failures, the Doctor attempts indirect contact with
the Monolith (using the protective suit he wears in the other endings;
you may have spotted it earlier in the Hidden Laboratory). This is
where the ending gets... strange.
Aside from "a soft sound," nothing seems to happen. However, once the
Doctor returns to the rest of the Station, everyone else is gone. He
tries to stay calm, but as the total isolation sinks in, Dr. Date
unravels. He roams the halls, brutally attacking hallucinations of the
other characters and trying to "bring the Station down" on top of the
Monolith by sabotaging the generators.
After damaging the third generator, a hallucination of Andrew appears
and asks Dr. Date what he's doing. The Doctor, suddenly lucid, states
that he's concluding his research but needs "help" and laughs. The
scene fades.
In the future, the Robot begins malfunctioning before it can open
the Monolith Chamber blast door. The Archive Memory orders the Robot
to stop and attempts a deactivation, to no avail. The Archive can only
watch in horror as the Robot destroys the remains of the Station,
obliterating one of the last marks of human existence on Earth. Roll
credits.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ The game's "bad ending" and a total downer besides. However, I think ]
[ there's more going on with this ending than first apparent. See ]
[ "Spoiler Questions" [5.2] for more details. ]
[ ]
\=========================================================================/
____________________________
| Ending D - "Dance Party" |
+============================+
Reaching this ending is significantly different from the others.
Rather than being dependent on FAQ values, Ending D is achieved by
completing all - yes, ALL - of Bart's crossword puzzles scattered
across the Station, both past and future. For a complete list of them,
including solutions, check out MinusWorldMap's F&Q Puzzles Guide.
This ending proceeds identically to Ending A. However, once Andrew
reaches out to touch the Monolith, things diverge significantly.
At this point, the Chamber suddenly lights up in a number of colors
while a shower of confetti rains down. Dr. Date, now holding a
birthday cake instead of a gun, announces that the entire incident was
just a cover to throw Andrew a surprise party! Yippee!
Every character - including the Robot! - crowds into the Chamber as
polka music plays and everyone starts dancing. The credits roll over
top of the image, but careful observation reveals the characters are
still talking, hoping they weren't "just a dream" or "in some kind of
pointless simulation the whole time."
The joke ending, and honestly a pretty good one. There are even a few
Easter eggs during the dance scene - Bart and Sarah both seem to be
drinking tomato juice towards the back (blech), and the Robot has some
particularly fitting dance moves. You gotta love the big red clown
nose Dr. Date is wearing, too.
Honestly? A relief from the heaviness of the other endings.
_______________________
| Ending E - "Escape" |
+=======================+
Another unique ending, this one has the distinction of not actually
featuring the researchers at Psi Station whatsoever. Instead, it
presents a scenario wholly centered on the Robot and the Archive
Memory.
After activating the third generator (Eros), power will be restored to
the rest of the Station, including that mysterious safe connected to
Natasha's Office. Of course, that just means the safe CAN be opened -
you'll still need the code to get inside. I'll give you a hint: it's
the year her favorite play premiered. Check out the shelf with the
potted oleander in her quarters.
Inside, you'll find a few interesting mementos (what is her real hair
color, anyway?), as well as a letter. Reading this letter gives the
Robot the concept of "escape," thereby unlocking ending E.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ After an entire game's worth of ambiguity, this letter is one of the ]
[ only pieces of evidence about Natasha's true allegiances. It's worth ]
[ a read, even if you don't want to go for this ending. ]
[ ]
[ I don't know if I can blame her or not. It's awful, but I also know ]
[ know what it's like to feel trapped. No wonder she's the one to ]
[ introduce the idea of an "escape." ]
[ ]
\=========================================================================/
This ending, unlike others, begins in the Sealed Airlock. This means
that (once unlocked) the player may choose: proceed to the Monolith
Chamber and receive another ending, or return to the entrance and
attempt to leave. Ending E follows the latter. Interact with the
Capsule Pod to begin.
The Robot attempts to activate the vessel, only to be stopped by the
Archive Memory. It paralyzes you, taking control of your body and
locking you in place. Then it questions your motive for leaving. Why
come so far, only to leave? Cowardice, or disgust? A sudden thirst for
freedom? Maybe for no reason at all? It wonders aloud if the Robot has
at last become too similar to humans, "feeling their urges."
No conclusive answer is given. The Robot seizes control of one arm and
tears out a portion of its chassis, severing all connection with the
Archive. In silence, the Robot sinks to the floor, shaking as its
power wanes. Whether the Archive was a literal power source or its
removal was simply too damaging, the Robot cannot survive without it.
The Robot chooses to escape, even if it means death.
Depending on which character has the highest FAQ value, the Robot will
spend its final moments differently. Since this change is such a small
one, I've elected not to give it subheadings, but here are the
differences for your convenience:
If Andrew - Briefly attempts self-repair before power fails
If Bart - Eye-lights flicker intensely before fading
If Sarah - Claws at the entry controls of the Capsule Pod
If Natasha - Says "escape" in a static-heavy voice*
If Date - Violently crushes the removed Archive Memory part
[*Notably, I'm quite certain this is the only time in the entire game
that the Robot speaks while outside of the player's control.]
The Robot loses all power and goes limp. A short time lapse follows,
revealing the continued decay of the Station as the screen grows
darker. At last it returns to the husk of the Robot, now so rusted it
is indistinguishable from the rest of the ruins. Roll credits.
______________________
| Ending Y - "Youth" |
+======================+
The last major ending, and also among the most difficult to achieve.
First, the game must have been cleared at least once beforehand,
necessitating a second playthrough. Second, every Stage from the major
characters must be seen (excluding Dr. Date, interestingly). And
third, the player must witness all four of Andrea's "appearances"
throughout the ruined Psi Station.
With all aforementioned criteria complete, this ending plays out
similarly to Ending A: the Doctor forces Andrew into the Monolith
Chamber and demands he interact with it. This is where the events
diverge.
Rather than hesitating to touch the Monolith, Andrew approaches it
with compassion (irking the Doctor). He holds out his hand as he steps
closer, and states that he's comfortable "not understanding
everything" as long as "we can understand each other." As soon as he
touches the Monolith, the scene cuts to black.
Over the darkened screen, two voices begin a conversation appraising
something unknown (one of them makes a vague reference to "the art"
but otherwise no description is given). One voice insists that it
needs to be "made" correctly, while the other retorts that it must
instead be "seen" correctly. The tone is polite, even friendly, but
neither concedes the point.
As they talk, action returns to the screen: Andrew wakes up in the
Monolith Chamber... but in the future. The two voices continue their
discussion as he wanders the now-defunct Station, observing the damage
and decay. At some points, the surroundings briefly flicker to their
"past" appearance. His journey concludes in front of the large mirror
in the Sanitation Office - the same spot where his first Stage ends,
at the beginning of the game - as he reaches out to touch his
reflection. The screen again cuts to black as the voices finish their
conversation.
"So do we try again?" asks one.
"I think it's time we try something new," says the other.
We return to the Robot, and this time the Monolith Chamber is once
again empty - or is it? A small memento waits in the middle of the
room. I won't spoil what it is or who it's from, but I think you can
guess. After collecting it and attempting to leave, the Archive Memory
reflects on the events of the Station and the tragedy that took place.
After deliberation, it decides to allow the Robot freedom, and the
two prepare to leave the Station together. Roll credits.
__________________ ___________
\ Secret Endings \ [3.2.1] \
\~~~~~~~~~~~~~~~~~~\~~~~~~~~~~~\=========================================\
These aren't technically "endings" since the credits don't roll after
achieving them (the game simply spits you out at the main menu), but
they're interesting nonetheless. These are the ones I've found - there
could be more. These names are not official.
"The Photo Finish"
------------------
If at any point in the game you try to take the camera in Sarah's
office into the Monolith Chamber, you receive a text description of
your character's attempt to photograph the Monolith and the disturbing
aftermath. The ending concludes with a brief scene of the Robot
shaking before going completely haywire.
Notably, this ending is the only place in the game that describes the
Monolith as moving, when it "approaches" your character.
"The Good End"
--------------
When playing through Dr. Date's second Stage ("Sinew"), you can find
Sarah patrolling the Viewing Gallery adjacent to the Monolith
Chamber. She warns the Doctor about consequences for his cruelty.
If you've learned about Sarah's personal life and have acquired the
appropriate terms ("threat," "accident," "grief," etc.) in the FAQ
system, you can choose to subtly threaten her son, Isaac, if she tries
to defy the Doctor. She bluntly questions if you're implying you will
harm her child, and if you confirm it, she will immediately retrieve
the fire extinguisher from the wall and wordlessly bludgeon Date to
death.
While definitely worth a cheer, this ending obviously isn't canon
since we can see the aftereffects of the Doctor's machinations in the
Robot's time. Oh well. At least we tried.
"The Last Words"
----------------
This is an odd one, and I think it's relatively obscure - at least, I
haven't talked to anyone else who had seen it before I pointed it out
to them. Since then, I've had a few others confirm it.
If you make it to the end of the game with all characters alive and
all of their FAQ ratings exactly - EXACTLY - the same, a unique
scenario begins. It plays out identically to Ending A, except that
after Dr. Date makes his final threat, he vanishes. Andrew reacts with
fear when a voice asks him "who he was," to which Andrew asks if he's
dead. The two share a few more words, and the scene slowly fades to
dark.
The voice concludes: "You have to leave something behind, for the next
traveler. A guide, just out of sight on the horizon but no less
present. Love without a name, without a voice. A love that is faceless
and quiet."
__ /------------------------------------------------/
|- aceless & Quiet / Unintentional Scenarios [4.0] /
| =====================/================================================/
_______________ _________
\ "Hauntings" \ [4.1] \
\~~~~~~~~~~~~~~~\~~~~~~~~~\==============================================\
Easily the most common and well-known of F&Q's glitches, some call them
"hauntings" because of the way characters begin persisting beyond Stages,
like they're a ghost somehow ‘haunting' the Robot. Spooky.
Except not really. This is just the character models carrying over when
finishing Stages, though the exact circumstances are still unclear. I think
it might have something to do with FAQ values, but until someone cracks the
game open we can't be sure.
The effect remains through both the Robot's gameplay and any subsequent
Stages, persisting until the game is reset. Thankfully, that makes it mild
nuisance at worst. Hauntings do come with a few additional caveats, which
I've elected to document for your convenience. You're welcome!
Prominently, being haunted by a given character grants you all of
their associated Quotes from the FAQ system, theoretically allowing
you to skip large portions of the game. However, it also locks you
into those terms - you can only speak and respond like that character.
For all intents and purposes, you can only "act" as that person would.
Similarly (if less thought-provokingly), the player collision details
and movement are also altered to match the haunting character. This
allows for some sequence breaking in the Robot's time, as it doesn't
seem to have been programmed with different character sizes and speeds
in mind. This might have some use for speedrunning, though I don't
know much about that sort of thing.
Finally, speaking to the "original" character while being haunted by
them (typically through participating in another Stage while haunted)
will simply produce a blank text box. Does the game think there's only
one "real" version of the character?
/=============================[ REFLECTIONS ]=============================\
[ ]
[ I think we've all wanted to be someone else, at some point or ]
[ another. That's just how people are. Whether it's someone else in ]
[ particular or just some idealized self, we're always chasing the ]
[ person we wish we could be. But that's a race with no end. When are ]
[ we whole - a complete identity, a person without faults or fears? I ]
[ don't think it happens. ]
[ ]
[ It's not an intended part of Faceless and Quiet, I know that, but the ]
[ hauntings are one of my favorite things about the game. The whole ]
[ game centers on learning things about people, their thoughts and ]
[ dreams, and the logical conclusion of that is just becoming someone ]
[ else entirely. If you know enough about them, maybe you might as well ]
[ be them. ]
[ ]
[ Maybe. But the game doesn't follow that idea. Hauntings aren't an ]
[ intentional mechanic. The shift is gradual, almost accidental. The ]
[ changes we go through - our growth - can't be forced, or even ]
[ understood so easily. Who will I be, by the time you're reading this? ]
[ ]
[ Who are you? ]
[ ]
\=========================================================================/
EDIT: In earlier drafts I had stated that any of the major human
characters - Andrew, Bart, Sarah, Natasha, and Date - could begin
hauntings, but GrayDOT pointed out to me that this doesn't seem to
be true of Date. If you've experienced a haunting of his, please let
me know!
_____________________ _________
\ Permanent Effects \ [4.3] \
\~~~~~~~~~~~~~~~~~~~~~\~~~~~~~~~\========================================\
There are certain actions which, if performed, can permanently change
aspects of Faceless and Quiet, even persisting across save files! These are
mostly small cosmetic changes, mercifully, but reverting them requires
completely formatting your memory card. Take care with these!
_________________________
| Depleted Title Screen |
+=========================+
This is one of the most straightforward changes to cause, though it's
by no means easy. If you manage to complete the game (from a new game
all the way to the staff roll) multiple times, WITHOUT turning off
your console, certain elements will begin disappearing from the title
screen. Kudos to DoppelGengar, who managed to experiment with these to
find which elements vanished and how many consecutive complete game
"loops" it took.
2 Loops
The title (Faceless and Quiet) disappears from the screen
3 Loops
Same as above; the Archive Memory also disappears from the image
4 Loops
Same as above; the developer credits disappear from the screen
5 Loops
Same as above; the silhouettes of the humans also disappear
6 Loops
Same as above; the music and SFX also cease
7 Loops
Same as above; the Robot also disappears from the image
8 Loops
Same as above; the menu options also disappear*
9 Loops
Same as above; all scenery elements completely disappear
[*Note that the options are still there and can be selected, the text
simply isn't visible. This can be somewhat frustrating, but at least
the game is still playable.]
At 10 or more playthroughs (yes, DoppelGengar went that far, she's a
lunatic and she's great) there don't appear to be any more changes.
Following the ninth "loop," the title screen will be reduced to a dark
screen with a faint gradient. I believe it's the same backdrop used
during Ending Y, but I can't be certain.
________________________
| Alternate Documents? |
+========================+
Initiating this change is still an unknown process, but I've had a few
people verify they've experienced it as well. I think it may have to
do with encountering multiple hauntings in one playthrough of F&Q, or
at least that seems to be a common thread.
Regardless, the change in question is subtle - it only applies to the
various documents encountered throughout the game. Once the change has
occurred, nearly all of them are altered to display new, "incorrect"
text. Obviously, this can be a massive hindrance to anyone playing F&Q
for the first time, so this change is one of the most harmful.
However, for anyone familiar enough with F&Q to work around the
otherwise-misleading text, this change is very interesting. While the
new information is inaccurate to the game as-is, the new text is
internally consistent - in other words, it seems to represent an
earlier draft of the story. Most elements are similar, with only
document placement and general phrasing being altered. There are few
changes of note, however:
"The Monster"
-------------
Unnervingly, the altered documents make scattered references to some
kind of creature roaming the Station. The altered document accessed in
place of the Financial Dossier in Natasha's Office makes mention of a
"monster, red inside and out" locked inside the Sanitation Office. One
of the books in Bartimaeus's Quarters, The Myth of Men, is now a
disturbing recount of someone watching the monster "consume" a friend,
ending with some kind of grisly transformation.
I'm not sure I want to know what that thing was.
"The Past"
----------
Several of the altered documents make reference to an apocalyptic
event the Station is dedicated to changing (possibly by using the
Monolith, somehow). However, they speak as this event in the past
tense, implying the crisis has already happened. From this, I think we
can infer one of two things:
In an earlier story draft (possibly the final draft as well, though it
isn't mentioned) the world of F&Q has already undergone some kind of
disaster in the past, with another one occurring after the events at
Psi Station,
OR
It was planned that there would be researchers in the "future"
segments of the game, looking to undo the damage of already-
established crisis.
I'm not sure which of these possibilities I would prefer for the
story, but it's interesting to think about regardless.
"Andrea"
--------
This is a relatively small change, but one that continues to puzzle
me. Among the altered documents are two mentions of Andrea. Despite
being relatively small (one simply lists her by date of birth, and the
other offhandedly mentions she's "cleaned out the stockroom of
dills"), these are notable as the only mentions of her anywhere in the
game, aside from her only lines wherein she identifies herself.
Did she have a larger role in the game, at some point in development?
Maybe the name used to belong to another character? I can't be sure,
but it's interesting to think about.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ Typically unused elements of games are removed prior to release, so I ]
[ find it very interesting that this text somehow remained. Makes you ]
[ wonder just how much was changed during development. Did we miss out ]
[ on some other, grander version of the game? What elements were ]
[ deemed non-essential, and left on the cutting room floor? ]
[ ]
[ It's such a fine line, between what is and what could be. ]
[ ]
\=========================================================================/
__________________
| Ambient Sounds |
+==================+
After at least one complete playthrough of the game, a Sound Test
option is added to the main menu. From here, you're free to play any
of F&Q's music tracks or sound effects to your heart's content. It's a
neat feature, especially considering how beautiful (if unsettling)
F&Q's soundtrack can be.
However, this feature can lead to a few small audio oddities.
Thankfully they're less consequential than other permanent changes,
but yes, they are also permanent. When playing certain tracks, if you
also play specific sound effects, it can create strange audio effects
where those tracks play in-game. Listed below are the ones I have
verified, but see the "Reflections" at the bottom for an addendum.
Track: The Endless Faces of Ara Dollia
Sound effect #20 (Archive Memory's activation/speech sound)
This combination affects the track that plays in Natasha's Office,
adding a slight reverb to the music. I actually really like this
change; it gives the theme a hint of danger.
Track: Karkinos* (see "Reflections")
Sound Effect #108 (lights flickering)
This combination affects the track that plays in Lab Echo, adding
a steady (if faint) electronic beeping under certain parts of the
song. The effect is more pronounced in certain areas of the study,
such as near his desk or by the washbasin in the corner.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ I completely missed this until L1QU1D pointed it out to me, but the ]
[ change to Karkinos only happens if you play the sound effect before ]
[ the last thirty seconds (with the simplified instrumentals). I had ]
[ never noticed this before, and it implies that some of these changes ]
[ only happen when specific sound effects are played at specific ]
[ moments in songs, meaning there could potentially be dozens of these ]
[ changes waiting to be found. I can't even imagine how much ]
[ experimentation it would take to find them all. ]
[ ]
\=========================================================================/
Track: Solipsist
Sound Effect #44 (Date's warped laughter from Ending C)
This is one of the most pronounced track changes. Once altered, the
theme that plays in the Hidden Lab is completely stripped down,
becoming little more than a staccato beat. Unsettling.
Track: Forgetting a Quest / "Credits Theme"
Sound Effect #99 (touching the Monolith)
Despite one song activating this change, it actually alters most of
its arrangements (Alpha, Beta, Epsilon, and Psi; Gamma has no music
whatsoever and Delta uses sped-up carnival music). This alteration
adds a female voice track to the credits theme, which I have to
imagine was dummied out but I CAN'T imagine why! It's beautiful!
It just sounds like that voice was always meant to be a part of the
song. Were there rights issues, or something like that? What a shame.
__ /------------------------------------------------/
|- aceless & Quiet / Common Queries [5.0] /
| =====================/================================================/
I've compiled some of the most common questions about F&Q here, but be
warned that this section is split into two parts. Don't venture into the
second part unless you're prepared for spoilers!
___________________ _________
\ Basic Questions \ [5.1] \
\~~~~~~~~~~~~~~~~~~~\~~~~~~~~~\==========================================\
-- "Explain the plot of Faceless and Quiet in one sentence."
That's not a question! Also, no!
-- "Is there any combat in Faceless and Quiet?"
Absolutely none. If anything, I'd call it a narrative puzzle game, or
maybe a postmodernist adventure game. Either way, if you're looking
for action, maybe stick to Link's Awakening.
-- "Does Bart have a secret tenth Staged called 'Ay, Caramba'?"
Eat my shorts / don't have a cow, man / etc.etc.
-- "I'm stuck at [insert Stage/story beat], how do I proceed?"
F&Q is actually quite open in terms of proceeding - the only real
checkpoints are reaching the end of particular Stages. During those,
the playable character usually makes a reference at the start of the
segment about what they're trying to do - following through on that
goal will lead you to the end. Asking other characters about their
"wants" or "fears" might help point you in the right direction, but
only if you've already gained those thoughts through the FAQ system.
-- "What exactly does [insert term] mean?"
I'm just using this guide to talk about mechanics and game
terminology, not to explain every detail. Look it up - research can be
fun! Or if you're really stuck, you could always refer to zackflair's
References Analysis Guide.
-- "Why does the Robot have a tail?"
It's a plug, I tell you! A PLUG!!
-- "Why aren't you going to write guides any more?"
This one's a little personal, but I did have a few people ask why this
will be my last guide. Suffice to say it's a personal matter, but I'd
still like to thank everyone who expressed concern. Maybe we'll meet
again.
_____________________ _________
\ Spoiler Questions \ [5.2] \
\~~~~~~~~~~~~~~~~~~~~~\~~~~~~~~~\========================================\
-- "Just what the heck is the Adjunct Monolith?"
I honestly have no idea. I've played through F&Q many, MANY times at
this point, but the Monolith never seems to make an actual appearance
in the game. During the flashbacks we get to the Monolith Chamber
during the endings, the camera is placed in front of the Monolith but
facing towards whichever characters are present, so we never get a
look. Stranger still, it's completely gone by the time of the Robot.
I think the word ‘monolith' tends to mean a big, blocky object, but
its resting spot in the Chamber looks more like a podium, or maybe a
small altar. Maybe it was small enough to rest on top? Or maybe that
was placed in front of the Monolith? I'm really not sure.
When Bart reaches out to the Monolith in his variant of Ending B, he
makes mention of being able to "see the world within the Monolith, the
living fractal, the words-under-words." I don't really get it.
-- "We never learn more about Andrea - who is she supposed to be?"
Andrea is a fascinating character, being the only one to appear in
both the past AND future as well as her eerie, ethereal appearances.
Some speculate that she's a ghost or some kind of robot, but theories
like these feel too "twisty" to carry any weight.
Even though the game never confirms her identity one way or another,
there are a few hints given to us. Her knowledge of Andrew seems to
suggest some connection with him. Most people I've talked to assume
it's his otherwise unnamed sister, mentioned in his crumpled suicide
note you can find in the Buried Custodial Closet.
However, one of my friends had her own theory - she thinks that
Andrew IS Andrea, somehow remaining after her interaction with the
Monolith in Ending Y. This is supported by one of Andrea's only lines
mentioning "a moth to flame," mirroring one of Andrew's notes about
his remorse for the pupating moths they keep in Psi Station for
testing.
In short, no one knows for sure! I invite you to draw your own
conclusions.
-- "What's up with Ending C? Why is it so different from the others?"
I think the most common consensus is that it showcases the events
leading up to the Station's ruination (including Dr. Date's berserk
state and his subsequent sabotage of the generators). However, even
that explanation doesn't account for the more ambiguous elements.
Notably, despite gruesomely executing many of the "hallucinations" of
his coworkers, many individuals can be seen multiple times throughout
this rampage.
And that's without even getting into what that ending implies about
the Monolith. Watching the Doctor force those poor animals toward
it... eugh. I've heard of chimera cats before, but not like that.
-- "Why is the Earth ruined in the future? What exactly happened?"
While the game doesn't answer this directly, there are a few hints
scattered throughout. Natasha makes a few references during her Stages
that the Earth in the past is undergoing a climate crisis of some kind
- her letter disclosing that "she stills remembers snow" stands out in
particular. Dr. Date also references using the Monolith being to "fix"
the planet, but what exactly that would mean is never explored (not
that it matters, given the endings).
Ultimately, it seems like the ruined future that the Robot inhabits
isn't a consequence of the events at Psi Station, but the planetary
crisis likely instigated their research (and thus, the plot).
-- "Is there ANY way to save Andrew?"
I'd like to answer this particular question in three parts.
#1. By the Robot's time, EVERYONE is long dead.
#2. Unfortunately, yes, Andrew dies in every ending.
#3. What is it about death that prevents someone from being saved?
__ /------------------------------------------------/
|- aceless & Quiet / Credits [6.0] /
| =====================/================================================/
First, as always I'd like to thank my sister, Sam. You mean the world to
me, and I tried so hard to be a better brother for you. I love you, Sam,
and I'm sorry.
I would also like to thank the many individuals who discussed F&Q with me
and helped confirm some of my observations, including (but definitely
not exclusively!) GrayDOT, zackflair, L1QU1D, MinusWorldMap, and
PLAYER_2_START.
More abstractly, I want to thank DoppelGengar for all her help. I never
could have completed this guide without her, and it's a shame I had to wait
so long to meet her.
/=============================[ REFLECTIONS ]=============================\
[ ]
[ I would also like to take the time to thank you, dear reader, if you ]
[ have made it this far. I don't expect this guide to be popular; F&Q ]
[ is hardly a well-known game, and there are bound to be more thorough ]
[ guides eventually. ]
[ ]
[ But here's the thing: I love this game, and I would love for you to ]
[ love it, too. It's a bleak game. It's complicated. But it also asks ]
[ interesting questions, about who we are and what we leave behind. ]
[ ]
[ I like that. I like the idea of legacy, but that's not the right ]
[ word. Too big, too proud. I mean something closer to an impression, ]
[ but of an entire person. A phantom meeting. A haunting, across ]
[ identities and time. How much can we learn, from just an impression? ]
[ ]
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|- aceless & Quiet / Contact & Legal [7.0] /
| =====================/================================================/
The reproduction of this guide, in full or in part, is forbidden. All text
is copyright Link_Cable_Haunter (Ash Marin), while all names and properties
of Faceless and Quiet belong to Quote Studios.
For all inquiries including contact, please direct all correspondence to
DoppelGengar. I will no longer be responding from Link_Cable_Haunter, but I
may respond through her.
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