Explosive Cake博士的蛋糕工厂

Item #: SCP-2714
Object Class: Safe
Special Containment Procedures: SCP-2714 is to be kept in a low-value containment safe at Site 88. On no account are pages 20 and 21 to be opened outside of occasional approved testing. Pages 57 and 58 are to be opened and the contents recorded daily. A standard-issue containment bookmark has been slotted into these pages to avoid opening pages 20 and 21 during the procedure. All documents related to SCP-2714 are to be stored in low-level object supplement folders next to the safe for researcher reference.
All SCP-2714-1 instances are to be contained in biological containment cells at Site 88. Instances may be divided up by -A, -B, and -C within the cells for convenience of researchers, as there is no distinction between them outside of appearance. The air in SCP-2714-1 containment cells are to contain 5% microscopic biological matter, distributed by air vent, for feeding purposes.
Pages 20 and 21, if ever opened for approved testing purposes, are only to be opened in SCP-2714-1 biological containment chambers.
描述:SCP-2714是一本1968年出版的漫画小说《丁丁历险记:714航班》,作者为比利时的乔治·雷米(笔名埃尔热),被莱斯利·朗斯戴尔-库柏和迈克尔·特纳从法语翻译为英语,由Methuen Children's Books出版。SCP-2714显示出由年代导致的轻微损坏,但总体上保存较好。
Description: SCP-2714 is a copy of the 1968 graphic novel The Adventures of Tintin: Flight 714 by Belgian artist Georges Remi (known by his pen name Hergé), translated from French into English by Leslie Lonsdale-Cooper and Michael Turner and published by Methuen Children's Books. SCP-2714 shows signs of its age, with some minor damage, but is in mostly good condition.
SCP-2714有两页显示出独立的异常性质。打开20-21页会导致三个称为SCP-2714-1的形似藤壶的固着动物在距离SCP-2714不等的地方出现。在书本合上之前,这种现象会每十分钟出现一次。)每个SCP-2714-1个体平均高1米,底部周长10米。但是个体之间大小有差异(详细的数据分析参阅文档2714-35FN)SCP-2714有3个不同的亚种:SCP-2714-1A, SCP-2714-1B和 SCP-2714-1C;
SCP-2714 has two pages that display separate anomalous properties. Opening the page 20-21 spread will cause the appearance of three sessile organisms resembling barnacles, designated SCP-2714-1, in a varying distance around SCP-2714-1. This will occur every ten minutes until the book is closed. Each SCP-2714-1 instance is, on average, 1 meter tall and 10 meters in circumference at the base, though size does vary (see document 2714-35FN for detailed statistical analysis). There appear to be three distinct types of SCP-2714-1, identified as SCP-2714-1A, SCP-2714-1B, and SCP-2714-1C; all instances of each type of SCP-2714-1 are genetically identical to each other.
SCP-2714的外壳是由骨骼构成的,存在一些毛发组织,也有形似纤维的组织存在。对骨头的基因分析显示该组织属于一条家狗(Canis familiaris)
The shell plas of each SCP-2714-1 organism are composed of live bone; patches of hair-growing tissue are also present, as are patches of of what appears to be fabric. The bone has been genetically analyzed and identified as belonging to a domestic dog (Canis familiaris) — specifically, the Wire Haired Terrier breed; notably, all bone has been sourced to the same individual. Three colors of hair (white, orange, and black) are present, as are three colors of fabric (green, light blue, and dark blue). The white hair is present on all SCP-2714-1 organisms; genetic analysis of the white-hair follicles indicates that they are canine, and from the same individual as the bone in the shell plates.
Samples taken from the cirri and internal systems of SCP-2714-1 -A, -B and -C instances indicate they are composed of mostly human DNA, as opposed to the canine carapaces. SCP-2714-1 instances feed on biological matter in the surrounding air filtered using their cirri, and lack reproductive organs. Each instance secretes a small amount of corrosive liquid, found to be 68% ethanol and described as having a woody odor, similar to whisky. Part of the musculature contains complex human brain tissue. No electrical activity has been recorded originating from this tissue, and it is most likely vestigial, with no current purpose within the organism. SCP-2714-1 instances have a small, active, primary brain; a clump of neurons that control bodily function.
The second anomaly appears upon opening page 58. All text in dialogue bubbles will be replaced with a long, incoherent dialogue by an unknown entity or group of entities. This text changes upon reopening the page. Common themes amongst these texts include purgatory, the nature of reality, and the death of artistic thought. References to other Tintin stories are common, though seemingly disconnected from the text's main ideas.
Sample text observed on █/█/19██. Character actions are recorded for reference.
Captain Haddock: And I saw my comrades make that great and terrible crossing from the boundaries of known art into the land of alph-art1, and into the unknown.
(Captain Haddock is hypnotized by Kanrokitoff.)
Captain Haddock: Yes, but would that be so ? We know not what exists for the wicked.
安洛季托夫: 如果世界是一只牡蛎,我们就是包裹在珍珠周围,成为珍珠的粘液。我们创造了漫画中的角色,在森林中蹒跚而行,向着未知的荣光前进。流浪汉。十万个该死的台风!
Kanrokitoff: If the world were like that of an oyster, then we are the slime surrounding the pearl, forming the pearl. We create the comic-men stumbling through the woods to some glory we know not what. Picaros.2 Ten thousand thundering typhoons.3
(Kanrokitoff orders the other characters to climb a ladder of the spacecraft. He then does so himself. The volcano then explodes.)
Kanrokitoff: They are the ideal. We hold them past their racist minds and the formless chaos of those old forgotten europeans who destroyed the world. Have you seen the meat made of ink? The blood of paper? The world of doll eyes4 and dashing kings.
Lazlo Carreidas: This is transient. All of it. I am formless, writhing through a great void, waiting to be made flesh. This is meaningless. There is only the word. In the beginning there was the word.
Kanrokitoff: And the word was with God.
Skut: That is true. One cannot dispute that. But what of the pictures? What of those same terrible concepts. They never receive the news.
(Kanrokitoff spots the rubber dinghy where the villains are sailing)
Kanrokitoff: I am Castafiore, the Milanese Nightingale,5 and I have borne an intolerable force. For someone came at me headlong in the morning and dismembered me with a bottle of whisky and tore me apart, according to the rigor of harmony. What nonsense! What did it make of me? I am still waiting.
Allan: Art is dead. Comedy is dead. Adventure is dead. Racism is dead.6
(Rastapopalous fires at the spacecraft.)
Rastapopalous: Should we embrace the hell? The riotous violence of the others? I doubt I would survive even that crossing.
附录1:SCP-2714是在Pierre Escoffier,一个三个星期前自杀的蒙特利尔插画家和诗人的遗物中找到的。Escoffier的遗产中有大量丁丁相关的纪念品,并且熟人向当地警方作证说他是一个对乔治·雷米有着强烈的痴迷的收藏家。Escoffier在自杀之前变得相当古怪,不停的提起“神,在阿道克的想象中成型,失败了”。值得注意的是他的父亲,Guillaume Escoffier,一个富商,和加拿大和美国北部的几个新欲肉教组织有着联系。
Addendum-1: SCP-2714 was recovered from the belongings of Pierre Escoffier, a Montreal illustrator and poet who had committed suicide three weeks prior. Escoffier's belongings had also contained a large amount of Tintin memorabilia, and acquaintances had testified to local police that he was a collector and fanatic who had an inordinate obsession with Georges Remi. Escoffier was reported to have become extremely erratic prior to his suicide, talking frequently of "old gods, made in Haddock's image, failed." Of note is the fact that Escoffier's father Guillaume Escoffier, a wealthy businessman, has had several ties to noted Neo-Sarkic cults throughout Canada and the northern United States.
SCP-2714's anomalous properties first came to the Foundation’s attention when it had been left open to page 21 while local police were emptying Escoffier’s apartment. The next morning, the apartment had been completely colonized by SCP-2714-1 instances of varying sizes. Foundation agents within Quebec police forces were alerted, and contained the anomaly. All SCP-2714-1 specimens were removed to Foundation custody. SCP-2714-1 instances would most likely have exponentially colonized beyond the apartment had Page 20 not been closed.
- Access Granted
Taken from Escoffier’s journal:
Jan 7
The latest piece got some recognition at the gallery. I am glad, for the money is running low and the rent is due. Bought a lovely Thomson Twin maquette, found it in an antique shop not terribly far from my apartment.
在画廊见到一些奇怪的人,他们似乎对我父亲特别感兴趣,其中一个有澳大利亚口音的人说他的名字叫做鲍威尔并且他对为他父亲的手下调试一些东西很感兴趣。他们需要用一些立体模型来装点他们公司的大堂。鲍威尔和另外一个人,Tanhauser,给了我一张卡片,上面写着“Are we cool yet?”,附有电话和邮箱地址。看起来很简略,但是他们自称为一个合法的艺术团体。而且你可能不信,我相信了他们。
Also met with some strange men at the gallery. Seemed to me they were especially interested in my father. One of them, Australian accented, said he was named Powell and he was interested in commissioning a piece for a few of father's men. Some diorama sculpture to fill one of their corporate lobbies. Powell and another man, Tanhauser, they gave me a card. "ARE WE COOL YET?" and then a phone number and email address.7 Seems sketchy, but they tell me they’re a legitimate art collective. And you know what? I believe them.

Found scribbled on notecard by desk. It is presumed these were notes taken during a phone call
-Powell’s Project notes - pass on to father.
flesh concept
figures in domestic setting
3d dining room/diorama
life size, venal themes
appropriate for hospital or research center
Slightly Macabre
Russian influence, themes of cancer and growth.
See example at art show. DHC/ART Fondation pour l'art contemporain. 7:00. gang will be there.

Taken from Escoffier’s journal:
Mar 12
我被邀请到了一个那种假装内行的艺术展,一大堆穿着牛仔裤带着自以为是的微笑的年轻人。女朋友在身边晃荡。没地位的家伙。像世界末日就要来了一样在酒吧里猛灌,这种时候我就希望自己在Marlinspike大厅,慢慢的喝一杯Loch Lomond,像那些他妈的大人一样喝酒。DHC/ART都是这种装腔作势的人吗?他们都自称艺术家,用光影和“魔法”创造夸张的作品。似乎这些东西都是不可理解的,甚至通过伤害观众来达到目的。对当时的我来说,这已经失去了艺术的意义,只是一个该死的玩笑而已。
The show I was invited to was one of those snobby art events. Lots of young pretentious men in tight jeans and a smug grin, girlfriends hanging off their arms. No class. Downing shots from the bar like the world was ending. In times like these I wish I were in Marlinspike Hall, sipping a Loch Lomond and consuming my alcohol like a fucking adult. The DHC/ART was packed with these poseurs! All of them supposed “an-artists.” They do stuff with light and “magic” to create ostentatious displays. Apparently some of these inscrutable, incomprehensible pieces even damage people as part of their artistic purpose. At which point, for me, the meaning of the art is lost. It’s a fucking joke at that point.
I found the pieces Powell created himself as nightmarish as the crowd that cooed over them. Disgusting and vile, and he apparently uses real flesh too! He claims he used “anomalous means” to twist and rupture the human form, but it’s so fake. You can’t see a Ritual of Adytum and forget it, much less believe a fake.
潜入画廊的基金会特工发现了正在展示作品的迈克尔 • 鲍威尔,著名的Are We Cool Yet?成员,和Escoffier在咖啡吧坐了三个小时。虽然对话过程被录音,它因与监视器有关的安保原因被摧毁了
(Foundation agents embedded at the gallery event observed Michael Powell, noted member of Are We Cool Yet? whose work was being presented, sitting at the gallery bar with Escoffier for three hours. Although the record of the conversation was recorded, it was destroyed for security reasons related to the surveillance.)
从Escoffier的手机中找到了多人群聊对话内容。对话在Escoffier和AWCY艺术家之间展开(Michael Powell, Werner Tanhauser, Lauren Palicki)。
Group text messaging conversation recovered from Escoffier’s phone. Conversation was between Escoffier and three AWCY anartists (Michael Powell, Werner Tanhauser, Lauren Palicki).
Powell: so dude we herd (sic) you were a flesh creatin guy.
Powell: thats awesome
Escoffier: It’s something I grew up around, but I haven’t really involved myself with serious Ion worship since I was six.
Palicki: but ur dad he's a member of a nälkä cult yea?
Powell: i've been using that flesh stuff as a inspriation (sic) since i started. i wanna learn so much from him. you still in contact?
Escoffier: I mean, I call him every once in a while. He calls me, wants to know how my artwork is going, but we’re not close or anything. A man who controls the world through secret societies is not bound to be the best father.
Tanhauser: its just like inherently amusing for me that an immortal member of basically the illuminati still calls and nags his kids
Escoffier: I mean, Dad’s old, but he’s not really immortal. Not even active as a Karcist anymore.
Tanhauser: still funny
Powell: listen pierre, just pass his receptionist’s phone number on to us, we’ll take care of it for you.
Tanhauser: take care of what, what are we offering?
Powell: a deal, bro.
Escoffier: I’m not sure I follow.
Escoffier: If I give you the number of my father and have you schedule an appointment so you can nag him about some wacky revolting sculpture and waste his time doing business transactions and ruling secret societies, you’ll do what?
Powell: free commission for u. you guys are secretive and anomalous, just the way i like it.
Powell: you see, im not willing to join in some rural village dicking around with tumors in the village of bumfuck russia and people like your dad aren’t exactly welcoming to non blackbloods. but your ideas of will and sacrifice, is there no greater theme in art? think of the great painters and sculptors throughout history, how many of them have essentially achieved godhood already? all idolized above the masses.
Palicki: we’re a splinter collective, just a few anartists playing with nälkä beliefs and capable enough to find out the hidden truth.
Tanhauser: Like the renaissance painters used christianity, yeah.
Escoffier: Why me? I’m not that active in the cult anymore. I haven’t gone to an orgy in many years, and am basically living a normal life. I don’t murder, I don’t spread disease, nothing. I’m finished. There at least a dozen other Karcists scattered across the world in positions of power who are more accepting of street artists anyway.
Powell: at the bar that night, you were talking about tintin. about you being so angry at your father because you drifted away and he refused to accept it. you being inspired to draw and write and not wanting to control the world. cliche, yes? but, for you it’s true.
Powell: we have a deal. there is a way you can embrace your loves and fix your broken world, but that can connect you with your father, your religion. let you embrace Ion once again. i may not be a karcist, not even a zend, but i know a thing or two.
Powell: how’d you like to summon a dead klavigar?
(The next message was sent roughly fifteen minutes later.)
Escoffier: What did you have in mind?
Taken from Escoffier's journal. Date unknown.
I am a wretch.
My parents, my gods have abandoned me. Fuck you Ion. I didn't deserve this, this guilt that hangs over me. My obsessions, my loves, they prevent me from following in Your path, the path of my father. I have disgraced him.
我被那些一心想着获得你的人误导,为了自己的私利夺取我的父亲。他们不虔诚。我自私又幼稚,虽然我讨厌他们我依然妥协了。我试图做正确的事情,用我的信仰与你重新建立联系,和我的父亲。去调和我两个所爱之物的矛盾,这没有用,他们在书页里尖叫,一半夭折了,我的天使,我那美丽的ligne claire(见注释4——译注)天使
I was led astray by those who wished to only gain access to you. To usurp my father for their own, selfish, ends. They don't belong among the followers of yours. They are not pious. I was selfish and like a child and even though I hated them so much I gave in. I tried to do right, to use my own beliefs to reconnect with you, with my father. To reconcile the two loves of my life. It's no use. They scream on the page, half aborted, my angels. My beautiful ligne claire angels.
Forgive me daddy. And Yaldabaoth help us all.
1. Hergé's final, unfinished Tintin story was titled Tintin and Alph-Art, and concerned the world of modern art.
2. The final, completed Tintin story was titled Tintin and the Picaros, published in 1976.
3. A popular catchphrase of the character Captain Haddock, used amongst other colorful euphemisms as a humorous alternative to profanity.
4.埃尔热画人物时使用一种签名式的ligne claire风格,以干净的线条和简化的,夸张的面部特征为特点。
4. Hergé drew his characters in a signature ligne claire style, characterized by clean lines and simplified, exaggerated facial features.
5. Bianca Castafiore is a recurring character in the Tintin comics, a buffoonish Italian opera singer who annoys Captain Haddock and manages to appear in incongruous, exotic locations.
6. Both uses of the word “racism” in this instance are interesting as Hergé was criticized for using racial stereotypes in his works, especially in the earlier albums.
7. No such card was found amongst Escoffier’s belongings.

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