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Inside the pyramid, the pristine white walls are framed by a white-and-gold marble floor, polished gold ceiling, and six tall obelisks. As the entry door slides closed, breathable air flows into the entry room from subtle vents in the ceiling. Soft golden lights activate, revealing a desiccated corpse in the northeast corner.
No magic is detected.
The corpse wears white robes trimmed in gold and long white gloves
There are a couple of ways to tell, let me have a look."
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Past this room, you enter a museum foyer. This long, high hallway is lined with pedestals and gallery displays that showcase holograms, art, and statues lit by subtle columns of light. Material sculptures include an elaborate model of an arch supported bridge, a split-level villa with multiple balconies and porches built into a tiered hillside, a luxurious spaceport lobby, and a partially complete sculpture of a humanoid-snake hybrid with a star for a face. One hologram of a red pyramid periodically fades to show the layout of corridors and chambers within and below it. Another hologram features an old-fashioned musical performance theater, and yet another shows a pre-planned city center expanding outwards into a metropolis.
A cybernetic sphinx sits on a pedestal. Her white leonine body sports robotic wings, complete with feathers of gold enamel and a human woman’s head. Her golden headdress and jeweled pectoral collar conceal the cybernetic connections between head and body. They hop down off her pedestal and addresses the PCs cordially as VIP visitors.
Keskodia tries to ask questions using the proper way to address a sphinx
"Greetings, great sphinx. We were told this is a tomb world. Do you know whose tomb it is, or how many tombs there are? And have those in the tombs found their way to Pharasma? There are so many options for questions, I hope that's not too many questions?"
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The Mausoleum is my lady’s retreat from the material world. Here, she and her chosen assistants continue her great work in recreating the architecture of lost Golarion. We study ancient records, gathered at great expense, to make our reconstructions as accurate as possible
As for the other questions:
My apologies, I am unable to access the network to answer your query.
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My name is Rishni. I have the honor of assisting my lady Dortay ven Corbosi, an architect of renown, most honored among the Kalistocrats, founder and chief architect of Corbosi Incorporated.
She pauses before answering the second question. My apologies, I am unable to access the network to answer your query.
"Rishni, how long has the network needed repairs?"
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I chose to follow my lady into her retirement. She still takes some projects from time to time, and I have the honor of assisting her. My colleagues and I also have our own work, primarily creating 3D models of old Golarion’s architecture from the records my lady has collected.
I would be honored to guide you through our new employee orientation. First allow me to inform you of Corbosi Incorporated’s storied achievements, of which this gallery is but a modest showcase. To your left is a hologram of my lady Dortay ven Corbosi’s award-winning reconstruction of the High Bridge of Korvosa. From records uncovered in my lady’s historical research, we know the original graced the Jeggare River, linking the two halves of the ancient city of Korvosa. A client commissioned this replica to connect Kizmatta’s Arethusan Exchange Complex to a new luxury residential zone.
"It's a very ambitious project you have here, recreating old Golarion’s architecture. May we have a look around?"
Keskodia heads in and has a look around
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(ooc]You're in A2[/ooc]
As Rishni said, you are surrounded by exhibits - as if you were in a museum. The gallery contains six sculptures and five artfully designed holograms. Rishni won’t tolerate theft but allows you to scan, draw, or otherwise record them. Using a comm unit, datapad, or computer, you can scan the plinth on which each piece rests which automatically uploads historical information about the piece and its construction or acquisition to the observer’s device.
Notable pieces include the city plan of New Macridi, a Kalistocrat colony in Near Space and an Azlanti statue of Lissala that dates to New Azlant’s early colonial period and whose description is heavy on cultural interpretation and suspiciously light on provenance. The hologram of the musical performance venue is a fairly accurate depiction of the Kintargo Opera House. Its description notes the reconstruction was fully researched, designed, and drafted, but never completed, as Dortay and the project’s commissioner parted ways over “creative differences.”
"The Azlanti, now there's a culture I have not had a chance to experience in person yet.
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Once the party moves on, you enter the next room.
At the center of this studio is a table with a holographic tabletop projecting 3D schematics. Two freestanding whiteboards fill the east end of the room, each covered with nearly illegible notes in Lashunta. A large desk occupies the west wall, its surface littered with disposable cups, printouts with handwritten notes, drafting materials, and a computer. Framed marketing artwork decorates the studio walls.
The computer is password protected.
Desk: The cups are all empty and coffee stained. The printouts are an inventory list of construction materials and construction components which someone has gone over, circling necessary parts and supplies.
Holotable: The holotable displays a technologically modified coffin.
Whiteboards: Does anyone read Lashunta?
"Tomb world, technologically modified coffin, stasis pods, in or around pyrimid structures, are all things that could suggest the presence of the abomination commonly referred to as undeath. I suggest we try not to awaken whatever is in the stasis pods accidentally."
Keskodia pauses in deep thought for a moment.
"It could be worse. Undead don't need stasis pods, the stasis pods could be storing food... This could turn into a rescue mission."
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Borq discovers that Rasheen's keycard doesn't work, but the one you got of the dead ysoki does. The door opens.
Raia examines the notes on the whiteboard and determines someone was tracking food resources and attempting to calculate a delivery schedule. The calculations have been scribbled out and overwritten with layers of frantic looking text stating “When?” and “Why aren’t they coming?”
You're looking at an image of a coffin, not an actual coffin. It may be somewhere else. The table is a design table.
Anyone having a go at the computer? It too has a keycard slot.
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Even without a keycard, that is enough to bypass the lock screen.
The computer contains a reference library of maps, illustrations, and architectural plans and an unnerving series of voice logs recorded by “employee 084672; engineer first-class; Khendai.” (see slides)
This area’s computers contain digital copies of illustrations, maps, and surviving architectural plans from lost Golarion. These records inspired and enabled much of Dortay’s revival architecture. Copying this data requires 10 minutes and a computer or other digital data storage device.
"Raia, I agree, also if there are stasis pods here, that adds the option that Rasheen could be alive still. Considering that most of the other options for what's going on here are pretty dark, it's good to have at least one good option."
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Thrym goes through the passage, down some stairs and ends up ...
--- in the server room.
Banks of computers occupy the east half of this server room, and a line of tall servers fills the remainder. Blue, green, and yellow indicator lights show the servers remain live.
When you arrive, you hear Rishni's voice, asking you what your purpose is here.
Trying to give Thrym a cover story, Keskodia yells down the secret hallway.
"Did you find the bathrooms yet?"
Borq and Qimok catch up with Keskodia, waiting to see what happens with Thrym.
"Looks like we need to fix this first before the computers will work."
"Riai, your beter at this then I'am, I think I got the first part of this code figured out, what do you think?"